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

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Literary gossip". The Week: A Canadian Journal of Politics, Literature, Science and Arts. 1 (4): 61. 27 December 1883 . Retrieved 23 April 2013. 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. As a product of her environment, Nana has also adopted the values of that environment which are actually no values. During the course of the novel, Zola leaves no immorality uncommitted by Nana. She is incapable of being true to anyone, she constantly deceives everyone she associates with, she has no respect for any person or institution, she will sleep with anyone at any time, and most important, she drags everyone else down to her level. The interest in her character derives from the fact that she can at times be capricious, generous, hateful, spontaneous, and designing. She appreciates the power of her sexuality and uses it to its full advantage.

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) Nana, a Variétés Színház ünnepelt dívája, a buja szőke Vénusz, akinek lábai előtt ott hever egész Párizs. Fiatalok és vének, arisztokraták és polgárok, gazdagok és szegények, nősek és nőtlenek. És Nana ádáz kéjjel és dühvel tapod rajtuk. Mohón habzsolja és herdálja az életet, keze között hatalmas vagyonok olvadnak el, hószín combjai szorításában férfiak tucatjai vergődnek és zúzódnak halálra. Az olcsó utcalányból lett luxusprostituált tündöklése és bukása egybeesik a második császárság végnapjaival, a porosz–francia háború kitörésével. Vizetelly, Ernest Alfred (1904). "Émile Zola, Novelist and Reformer: An Account of His Life & Work". Nana opens with a night at the Théâtre des Variétés in April 1867 just after the Exposition Universelle has opened. Nana is 18 years old, but she would have been 15 according to the family tree of the Rougon-Macquarts Zola had published years before starting work on this novel. Zola describes in detail the performance of La blonde Vénus, a fictional operetta modeled after Offenbach's La belle Hélène, in which Nana is cast as the lead. All of Paris is talking about her, but this is her first stage appearance. When asked to say something about her talents, Bordenave, the manager of the theatre, explains that a star does not need to know how to sing or act: "Nana has something else, dammit, and something that takes the place of everything else. I scented it out, and it smells damnably strong in her, or else I lost my sense of smell." Just as the crowd is about to dismiss her performance as terrible, young Georges Hugon shouts: "Très chic!" From then on, she owns the audience. Zola describes her appearance only thinly veiled in the third act: "All of a sudden, in the good-natured child the woman stood revealed, a disturbing woman with all the impulsive madness of her sex, opening the gates of the unknown world of desire. Nana was still smiling, but with the deadly smile of a man-eater." She was the golden beast, an unconscious force, the very scent of her could bring the world to ruin.'Marquis de Chouard Count Muffat's father-in-law, who is best described as a dirty old man who annoys all the young actresses. a b c Berg, William J. (24 September 2020). "Émile Zola | French author". Encyclopedia Britannica . Retrieved 9 November 2020. Gustave Flaubert Correspondence". Édition Louis Conard. 15 February 1880 . Retrieved February 26, 2016. De amiért mégis többet kapott: ha azt nézem, hogy a keletkezési időben ez milyet üthetett az unatkozó polgári és arisztokrata körökben! Hűha, az a pletykálkodás és csámcsogás ezen a sztorin és a jelenetein! Az nem lehetett semmi.. És mivel azoknak a köröknek (főleg a nőknek) igazából nem volt semmi dolguk, mint a gyerekszülés, a komorna és szakácsnő utasítgatása és a hímezgetés-zongorázás-öltözködés… nos, elég idejük volt arra, hogy szép komótosan végigolvassák ennek az 500 oldalnak minden hosszú leírását. From 1877 with the publication of L'Assommoir, Émile Zola became wealthy, he was better paid than Victor Hugo, for example. He became a figurehead among the literary bourgeoisie and organized cultural dinners with Guy de Maupassant, Joris-Karl Huysmans and other writers at his luxurious villa in Medan near Paris after 1880. Germinal in 1885, then the three 'cities', Lourdes in 1894, Rome in 1896 and Paris in 1897, established Zola as a successful author.

Monsieur Mignon appears with the wealthy German-Jew banker, Steiner, who is having an affair with Mignon's wife Rose, the leading actress. Mignon, who arranges his wife's love affairs, tries to lead Steiner away from the discussion about Nana. A handsome young man, Daguenet, passes the group and is identified as Nana's lover. Count Xavier de Vandeuvres comes forward to speak to Fauchery just as a crowd on the street begins to chant Nana's name. Everyone goes to his seat to await the curtain. While waiting, Fauchery identifies many of the famous courtesans seated in the boxes. Fauchery is surprised when la Faloise greets the famous Count and Countess Muffat de Beuville and her father, the Marquis de Chouard. Zola said of the affair, "The truth is on the march, and nothing shall stop it." [26] Zola's 1898 article is widely viewed in France as the most prominent manifestation of the new power of the intellectuals (writers, artists, academicians) in shaping public opinion, the media and the state. [33] The Manifesto of the Five [ edit ] Rose Mignon The leading actress for the Variety Theater who sleeps with many of the same people as does Nana but is never as successful. Mitterand, Henri (2002). Zola et le naturalisme. Paris, France: Presses universitaires de France. p.23. ISBN 978-2130525103.After the play, the audience leaves with mixed emotions. La Faloise assures Bordenave that the play will be highly successful. Sacquin, Michèle; Cabannes, Viviane (2002). Zola et autour d'une oeuvre: Au bonheur des dames. Bibliothèque nationale de France. ISBN 9782717722161. Charles Antoine Zola ( / ˈ z oʊ l ə/, [1] [2] also US: / z oʊ ˈ l ɑː/, [3] [4] French: [emil zɔla]; 2 April 1840–29 September 1902) [5] was a French novelist, journalist, playwright, the best-known practitioner of the literary school of naturalism, and an important contributor to the development of theatrical naturalism. [6] He was a major figure in the political liberalization of France and in the exoneration of the falsely accused and convicted army officer Alfred Dreyfus, which is encapsulated in his renowned newspaper opinion headlined J'Accuse…! Zola was nominated for the first and second Nobel Prize in Literature in 1901 and 1902. [7] [8] Early life [ edit ] Zola in Exile in Weybridge" (PDF). Weybridge Society Newsletter. Weybridge Society. Spring 2019. p.24 . Retrieved 13 February 2023– via weybridgesociety.org.uk.

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. ) Blame her if you dare for the life she chose. Blame her if you dare for the lovers she humiliated. Blame her if you dare for the money she wanted and the pain she caused. If she grew up today, she would be a victim from the beginning, entitled to support and pity. In 19th century Paris, she had nothing but what she managed to grab for herself. Cold and manipulative? Yes! But how could she be otherwise, growing up as a child in the abusive home of Gervaise and Coupeau? She had no education to speak of, no social standing, no caring and loving childhood memories, no role models except for the hypocritical Paris society she saw - which was ruled by the sexual desires of men. She never had a chance to enter the official world, and had to provide for herself. Nana kuin muidenkin Zolan kirjojen katsotaan olevan malliesimerkki naturalisistisesta tyylisuuntauksesta.He is considered to be a significant influence on those writers that are credited with the creation of the so-called new journalism: Wolfe, Capote, Thompson, Mailer, Didion, Talese and others. In Paris, Zola maintained his friendship with Cézanne, who painted a portrait of him with another friend from Aix-en-Provence, writer Paul Alexis, entitled Paul Alexis Reading to Zola. Zola's Rougon-Macquart novels are a panoramic account of the Second French Empire. They tell the story of a family approximately between the years 1851 and 1871. These twenty novels contain over 300 characters, who descend from the two family lines of the Rougons and Macquarts. In Zola's words, which are the subtitle of the Rougon-Macquart series, they are "L'Histoire naturelle et sociale d'une famille sous le Second Empire" ("The natural and social history of a family under the Second Empire"). [44] [45]

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