Nana, A NOVEL By: Zola Emile (World's Classics)

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Nana si první popularitu získává v divadle. Nehraje sice dobře, ale je krásná. Díky tomu si podmaní významné muže Paříže. Věrnou společnicí je hlavní hrdince komorná Zoe, která je schopna všechny její mužské návštěvy po domě rozmístit tak, aby se nepotkávaly. Později se Nana stane symbolem zla, přičemž vše, s čím má co do činění, je nakonec zničeno. Na své milence klade stále nové požadavky, takzvaně je „vycucává“, až jsou mnohdy dohnáni na samé dno. Z dřívějšího vztahu se kurtizáně narodil syn Ludvíček, ten však později umírá na neštovice. Poté, co se Nana dozví, že zemřel i jeden z jejích milenců, prodává svůj majetek v dražbě a odjíždí z Paříže, kde na ni po nějakém čase všichni zapomínají. Nana se však vrací zpět a zde také podlehne neštovicím. Mitterand, Henri (1986). Zola et le naturalisme[ Zola and Naturalism]. Que sais-je? (in French). Paris: Presses Universitaires de France. ISBN 978-2-13-039642-0. OCLC 15289843. Nagyon örülök, hogy több éve, amikor először akadt kezembe a könyv, nem kezdtem bele. Ehhez még kellett érni, és nem azért mert egy prostituáltról szól, hanem mert Zola olyan zseniális szimbolikával él, hogy néha gyönyörűség máskor megbotránkoztató volt olvasni. Azt mondani, hogy szerettem ezt a könyvet, nos erős volna. Talán egy szereplő volt akit jobban szántam, mint a többit, s lehet kedveltem is egy kicsit. De a többiek csupán megrökönyödést váltottak ki. Noha nem a vágyaik, mint inkább az amiatti lealacsonyodás miatt, ahogy hagyták, hogy lassan mérgezzék meg őket a nők és ez a képmutató és fertőző kor. (Bevallom, keveset tudok a korabeli francia társadalomról, de most biztosan utána olvasok. ) In 1888, he was given a camera, but he only began to use it in 1895 and attained a near professional level of expertise. [15] Also in 1888, Alexandrine hired Jeanne Rozerot, a 21-year-old seamstress who was to live with them in their home in Médan. [16] The 48-year-old Zola fell in love with Jeanne and fathered two children with her: Denise in 1889 and Jacques in 1891. [17] After Jeanne left Médan for Paris, Zola continued to support and visit her and their children. In November 1891 Alexandrine discovered the affair, which brought the marriage to the brink of divorce. [ citation needed] The discord was partially healed, which allowed Zola to take an increasingly active role in the lives of the children. After Zola's death, the children were given his name as their lawful surname. [18] Career [ edit ] Zola early in his career

Besides the emphasis on the mass reaction of the audience, Nana's sexuality is equally emphasized. The entire novel will concern itself with the sexual desires aroused by the physical appearance of Nana's voluptuous body. We must throughout the rest of the novel be constantly aware that there are two Nanas. One is the simple girl of the streets who seems to possess no particular or outstanding attributes, but the other is that symbolic Nana who represents all the sexuality inherent throughout society. The first Nana is simpleminded and gives herself to anyone at any time. The other Nana is the voluptuous incarnation of the love goddess, Venus, who reclines on sumptuous beds costing a small fortune and who evokes hitherto latent urges in everyone. One morning while Muffat is still in the bedroom, Georges Hugon shows up unexpectedly. Nana, however, has lost all interest in him and views him only as an amusing friend. Georges comes to see Nana every day and talks constantly of his older brother, Lieutenant Philippe Hugon, whom he thinks his mother will send to rescue him from Nana's clutches. After some time, the older brother does appear; Nana sends word to have him wait a quarter of an hour before being shown into her presence. After a short visit, everything is settled satisfactorily. In the future, the older brother is to become a regular member of Nana's circle. Vizetelly, Ernest Alfred (1904). "Émile Zola, Novelist and Reformer: An Account of His Life & Work". As he described his plans for the series, "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world." Bernheimer, Charles (1999). Constable, Liz (ed.). Unknowing Decadence. Philadelphia: University of Pennsylvania Press. pp.50–64. {{ cite book}}: |work= ignored ( help)One day, Satin takes Nana to meet Madame Robert, a lady whom Nana considers respectable and discreet, but the lady is not at home. Nana offers to take Satin the following day to a restaurant she has heard about. The restaurant is filled with women who are looking for other women. Suddenly, Madame Robert appears, and while Nana is occupied observing something else, Satin leaves with this lady. Nana is disgusted at the idea of a respectable lady acting as Madame Robert did. The optimist is that other face of the scientific experimenter, the man with an unshakable belief in human progress. [ citation needed] Zola bases his optimism on innéité and on the supposed capacity of the human race to make progress in a moral sense. Innéité is defined by Zola as that process in which " se confondent les caractères physiques et moraux des parents, sans que rien d'eux semble s'y retrouver"; [57] it is the term used in biology to describe the process whereby the moral and temperamental dispositions of some individuals are unaffected by the hereditary transmission of genetic characteristics. Jean Macquart and Pascal Rougon are two instances of individuals liberated from the blemishes of their ancestors by the operation of the process of innéité. [ citation needed] In popular culture [ edit ] The Strange Death of Emile Zola". History Today Volume 52. 9 September 2002 . Retrieved 21 February 2017. Rougon-Macquart cycle: Work by Zola". Encyclopædia Britannica. Encyclopædia Britannica, Inc. Retrieved 3 November 2016.

While attending the Italian Theater one evening, Fontan is charmed by a new actress in the troupe. Nana ridicules the actress and that night a quarrel ensues. After Nana complains about some cake crumbs in the bed and tries for the second time to get out, Fontan slaps her so hard that she feels dazed. At first Nana resents this brutality, but after a few minutes, she even respects him for treating her in such a manner.Nana tells the story of Nana Coupeau's rise from streetwalker to high-class prostitute during the last three years of the French Second Empire. Nana first appeared near the end of L'Assommoir (1877), Zola's earlier novel in the Rougon-Macquart series, where she is the daughter of an abusive drunk. At the conclusion of that novel, she is living in the streets and just beginning a life of prostitution. Zolát sokan tartják a naturalizmus szellemi atyjának, ugyanakkor meg kell jegyezni, hogy az irányzatra – melynek jelentős képviselői többek között Paul Bourget, Guy de Maupassant és Władysław Reymont – nagy hatással volt Hippolyte Taine francia irodalomtörténész is. A naturalizmusra jellemző, hogy továbbviszi a realizmus szemléletét, és olyan korábban hétköznapinak vagy esetleg taszítónak vélt emberi tulajdonságokat is ábrázolni kíván, melyekre korábban nem terjedt ki a művészet látóköre. Nana, 1-3.; sajtó alá rend., bev. Ambrus Zoltán, életrajz Denise Zola Mme Le Blond, ford. Csillay Kálmán; Gutenberg, Bp., 1929 ( A Gutenberg Könyvkiadó Vállalat könyvei)

The poet is the artist in words whose writing, as in the racecourse scene in Nana or in the descriptions of the laundry in L'Assommoir or in many passages of La Faute de l'Abbé Mouret, Le Ventre de Paris and La Curée, vies with the colourful impressionistic techniques of Claude Monet and Pierre-Auguste Renoir. The scientist is a believer in some measure of scientific determinism – not that this, despite his own words "devoid of free will" (" dépourvus de libre arbitre"), [55] need always amount to a philosophical denial of free will. The creator of " la littérature putride", a term of abuse invented by an early critic of Thérèse Raquin (a novel which predates Les Rougon-Macquart series), emphasizes the squalid aspects of the human environment and upon the seamy side of human nature. [56]At first the audience laughs until a young boy, Georges Hugon, cries out, "She's wonderful." From then until the end of the play, Nana is in control of the audience, especially during the final act when she appears on the stage virtually naked. Full text of 'Emile Zola Novelist And Reformer An Account Of His Life And Work' " . Retrieved 7 February 2014. I read Zola's novel when I spent a summer working in Paris, just at the time when I had left childhood behind but was still too young to understand the limitations of my knowledge and experience. Smiling condescendingly at teenagers, I was barely twenty-two myself, and Nana shook my world. After I had finished the no