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

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Zola". The American Heritage Dictionary of the English Language (5thed.). HarperCollins . Retrieved 22 August 2019. Bridger, David; Wolk, Samuel (1 January 1976). The New Jewish Encyclopedia. Behrman House, Inc. p.111. ISBN 978-0874411201. Zola, Émile (2005). The Three Cities Trilogy Complete: Lourdes, Rome and Paris. Library of Alexandria. ISBN 978-1-4655-2672-4.

Most of the Rougon-Macquart novels were written during the French Third Republic. To an extent, attitudes and value judgments may have been superimposed on that picture with the wisdom of hindsight. Some critics classify Zola's work, and naturalism more broadly, as a particular strain of decadent literature, which emphasized the fallen, corrupted state of modern civilization. [46] Nowhere is the doom-laden image of the Second Empire so clearly seen as in Nana, which culminates in echoes of the Franco-Prussian War (and hence by implication of the French defeat). [47] Even in novels dealing with earlier periods of Napoleon III's reign the picture of the Second Empire is sometimes overlaid with the imagery of catastrophe. [ citation needed] Poster by Léon Choubrac advertising the publication of Zola's novel Germinal in Gil Blas, 25 November 1884 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]As before banker Steiner, Nana's life is deteriorating the monetary funds of Muffat, who also has a wife in anger and revenge for his infidelity by going with lovers and multiplying their expenses. Without mercy, Nana asks him more and more, and every time he cares less, he surprises her with others in his bedroom. Finally, in a reasonably hasty finale (provoked perhaps by the writing in typical episodes of the time) in which it moves away for the courtesan and her lover, Nana moves away from the almost ruined Muffat and goes on a trip. Upon returning to France, he finds that his aunt has neglected his three-year-old son, and he has taken smallpox and died. She becomes infected with this disease and soon dies, taken care of in a hotel by one of her old scene rivals and unable to receive the visit of Muffat. a b c Berg, William J. (24 September 2020). "Émile Zola | French author". Encyclopedia Britannica . Retrieved 9 November 2020.

Me explico: Naná es la historia de Naná, una actriz de teatro que además es muy bella y atractiva, y quien de alguna manera se verá involucrada con personajes de la alta sociedad, de una forma que, como todo Zola, no terminará bien. El retrato que crea el autor de la sociedad de la época, las apariciones de Naná con el equipo de actores en el teatro —de hecho el primer capítulo, que inicia con una obra en tres actos, y que además nos introduce a cada uno de los personajes principales, es de los mejores de toda la novela—, y los amoríos que van surgiendo a lo largo de toda la historia, son dignos de admirar, escritos con una belleza y una profundidad como solo Zola sabe hacerlo. Hewitt, Catherine (2015). The mistress of Paris: the 19th-century courtesan who built an empire on a secret. London. ISBN 978-1-78578-003-5. OCLC 924600273. {{ cite book}}: CS1 maint: location missing publisher ( link) naturalizmin kendisini zola'dan dinlemek uygun düştü. zola, eserini kaleme alırken naturalizmi savunmak ya da bu yöntemin esaslarını bir manifesto niteliğinde yazmaktansa claude bernard'ın tıptaki görüşlerini edebiyat zeminine oturtmakla yetinmiş ve eserini, kendisinin de söylediği üzere, bernard'ın fikirlerinin üzerine tesis etmiş. yazar naturalizme sıkı sıkıya bağlanmış ve hatta kördüğüm olmuş.En fin, que el problema con Naná no es que venda su cuerpo, el problema aparece cuando los hombres creen que lo que compran es su alma. Naná es caprichosa e irreflexiva, despiadada y sentimental, una cabecita loca capaz de llevar por la calle de la amargura a lo más granado de la alta burguesía parisina o de sufrir en sus propias y apetecibles carnes los mismos tormentos que provoca, la misma depravada humillación (”ella le amaba demasiado; de él, hasta era bueno ser abofeteada”). El problema es ese demonio interior, al que me resisto a poner nombre, que por conseguir la menor prueba de afecto nos doblega a todo tipo de humillaciones y abusos, pareciendo que ese mismo trato degradante es el abono que propicia el desarrollo de esa flor carnívora que nos corroe por dentro a base de autodesprecio por ser incapaces de terminar con nuestra vergonzosa situación. György Lukács, Studies in European Realism. A Sociological Survey of the Writings of Balzac, Stendhal, Zola, Tolstoy, Gorki and Others, London: 1950, pp. 91–95.