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

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Nelson, Brian (15 February 2007). The Cambridge Companion to Zola. Cambridge University Press. ISBN 9781139827270. Although Zola and Cézanne were friends from childhood, they broke in later life over Zola's fictionalized depiction of Cézanne and the Bohemian life of painters in his novel L'Œuvre ( The Masterpiece, 1886). 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. Barnes, Julian (15 April 2011). "Edouard Manet: Symphony in off-white". The Guardian . Retrieved 26 February 2016. One of the things that caused me a high level of discomfort with this novel, is that to me it felt (I suppose that part of the impressions I got might be due to the translation - it's often quite hard to gauge a translated work appropriately) as if the 'special' quality about Nana seemed to be presented as something animal, some animal charisma, something that resounded in her admirers in their most base natures, the most animal part of their psyche.

His enemies were blamed for his death because of previous attempts on his life, but nothing could be proven at the time. Expressions of sympathy arrived from everywhere in France; for a week the vestibule of his house was crowded with notable writers, scientists, artists, and politicians who came to inscribe their names in the registers. [38] On the other hand, Zola's enemies used the opportunity to celebrate in malicious glee. [39] Writing in L'Intransigeant, Henri Rochefort claimed Zola had committed suicide, having discovered Dreyfus to be guilty. Bridger, David; Wolk, Samuel (1 January 1976). The New Jewish Encyclopedia. Behrman House, Inc. p.111. ISBN 978-0874411201. También disfruté del contexto histórico, básicamente nos encontramos al final del Segundo Imperio francés, y empezamos a sentir las tensiones que desencadenarían su caída, así como las últimas líneas de la novela, —¡A Berlín! ¡A Berlín! ¡A Berlín!, las cuales apuntan al inicio de La guerra franco-prusiana. En pocas palabras, históricamente hablando es un deleite, aunque debo decir que son apenas unos cuantos detalles que pasan al fondo, ya que el autor no se detiene mucho en ello, sino que más bien se centra totalmente en su protagonista.

Nana opens with a night at the Variety Theater in April 1867 just after the Exposition Universal has opened. Nana is eighteen years old, though she would have been fifteen according to the family tree of the Rougon-Macquarts Zola had published years before starting work on this novel. ISBN κτλ, κυρίως (αλλά όχι αποκλειστικά) την διέθεταν μικροπωλητές κτλ. Θεωρούσα δηλαδή πως είναι ένα απομεινάρι του παρελθόντος. 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." 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)

Correspondence Between Emile Zola and Imprisoned Alfred Dreyfus". Shapell Manuscript Foundation. Archived from the original on 7 July 2012 . Retrieved 29 January 2012. The Life of Emile Zola (1937) is a well-received film biography, starring Paul Muni, which devotes significant footage to Zola's involvement in exonerating Dreyfus. The film won the Academy Award for Outstanding Production. 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 ]Paris Monuments Panthéon-Close up picture of the interior of the crypt of Victor Hugo (left) Alexandre Dumas (middle) Emile Zola (right)". ParisPhotoGallery. Archived from the original on 19 April 2012 . Retrieved 30 January 2012.

Gustave Flaubert Correspondence". Édition Louis Conard. 15 February 1880 . Retrieved February 26, 2016.

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Osećam neku neobjašnjivu ljubav prema Zoli. Njegove knjige su mi naporne, ali ja bih dušu prodala da ga upoznam i s njim podelim flašu vina. Mnogo ga volim jer je bio pravi genije, pravi poznavalac ljudske gluposti, posmatrač društva i pisac viceva na isto to društvo. Swardson, Anne (14 January 1998). "The Dreyfus Affair's Living History". The Washington Post. Archived from the original on 7 September 2022 . Retrieved 7 September 2022. Because of Zola's article, ... the intellectual class was accorded the status it still holds as molder of public opinion. Nana, a 1934 American film by Dorothy Arzner and George Fitzmaurice, starring Anna Sten and Phillips Holmes