Literary gossip". The Week: A Canadian Journal of Politics, Literature, Science and Arts. 1 (4): 61. 27 December 1883 . Retrieved 23 April 2013. Naná es así, juega con hombres y mujeres, se siente “orgullosa de la ruina de sus amantes” y hasta disfruta en ocasiones de ese otro demonio interior que se alimenta del poder sobre los demás, de la omnipotencia sobre los que, sumisos, la rodean, un proceso inagotable e imparable que solo lleva a la rabia autodestructiva, a una escalada de depravaciones sin fin, pues es incapaz de saciar el hambre. Pero Naná también se conmueve con aquellos que estima, los agasaja incluso aunque nada consiga a cambio, es generosa y confiada, una bocazas desconsiderada y mentirosa, una ingenua zalamera, una arrogante y soberbia que se cree más lista que nadie en lo que a su vida se refiere. Ya ven, lo tiene todo para encontrar su perdición, pero…

Entiéndanme bien, hablo del sexo libremente ejercido, aunque haya dinero de por medio, y quién dice dinero puede decir también estatus social, casita con jardín y BMW en el garaje, ese sexo que se puede ofrecer seleccionando al cliente, hasta disfrutando de él y con él, pero también ese que se entrega de forma tan voluntaria y con la misma vocación que, por ejemplo, limpiar retretes durante ocho horas al día, seis días a la semana. 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 ISBN κτλ, κυρίως (αλλά όχι αποκλειστικά) την διέθεταν μικροπωλητές κτλ. Θεωρούσα δηλαδή πως είναι ένα απομεινάρι του παρελθόντος.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." The daughter of Gervaise, the poor laundress from L'Assommoir, she is a child of the Parisian streets: uneducated, vulgar, yearning for the glittering luxury and material possessions that attract her through the rich shop windows. She is also beautiful - magisterially, almost supernaturally beautiful - and endowed with a kind of sexual charisma that drives men mad. Propelled from the theatre stage into the bedrooms of Parisian men, Nana feeds their frenzy as 'the Golden Fly' while also corrupting and being corrupted through the symbiotic co-dependency that results. 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. 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.

And this display of Nana’s many possibilities is just a limited sample of what I think is one of the most successful literary characters that have been created. Cummins, Anthony (5 December 2015). "How Émile Zola made novels out of gutter voices and ultra-violence". The Daily Telegraph. London . Retrieved 3 November 2016. Manet, who was much taken with the description of the "precociously immoral" Nana in Zola's L'Assommoir gave the title "Nana" to his portrait of Henriette Hauser before Nana was published. [5] [ failed verification]More than half of Zola's novels were part of the twenty-volume Les Rougon-Macquart cycle, which details the history of a single family under the reign of Napoléon III. Unlike Balzac, who in the midst of his literary career resynthesized his work into La Comédie Humaine, Zola from the start, at the age of 28, had thought of the complete layout of the series. [ citation needed] Set in France's Second Empire, in the context of Baron Haussmann's changing Paris, the series traces the environmental and hereditary influences of violence, alcohol, and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of the family—the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts—over five generations. In the Rougon-Macquart novels, provincial life can seem to be overshadowed by Zola's preoccupation with the capital. [ citation needed] However, the following novels (see the individual titles in the Livre de poche series) scarcely touch on life in Paris: La Terre (peasant life in Beauce), Le Rêve (an unnamed cathedral city), Germinal (collieries in the northeast of France), La Joie de vivre (the Atlantic coast), and the four novels set in and around Plassans (modelled on his childhood home, Aix-en-Provence), ( La Fortune des Rougon, La Conquête de Plassans, La Faute de l'Abbé Mouret and Le Docteur Pascal). [ citation needed] La Débâcle, the military novel, is set for the most part in country districts of eastern France; its dénouement takes place in the capital during the civil war leading to the suppression of the Paris Commune. Though Paris has its role in La Bête humaine the most striking incidents (notably the train crash) take place elsewhere. Even the Paris-centred novels tend to set some scenes outside, if not very far from, the capital. In the political novel Son Excellence Eugène Rougon, the eponymous minister's interventions on behalf of his so-called friends, have their consequences elsewhere, and the reader is witness to some of them. Even Nana, one of Zola's characters most strongly associated with Paris, makes a brief and typically disastrous trip to the country. [48] Quasi-scientific purpose [ edit ]

Having said that, Nana is a monstrously self-centred, needy character, and she leaves a trail of broken characters in her professional development as a prostitute. She is daring, energetic, intelligent (but without finesse), superficial and vicious. Nana is the perfect incarnation of the corrupt whore, a child of poverty with conservative taste and values, acquired by copying the men who fall for her sexual power. Living apart from so-called respectable society, she nevertheless cultivates aristocratic opinions and traditional artistic and literary taste. She would not have approved of the realistic descriptions in Zola's novels, leaving no space for romantic dreaming and escapism. Opportunistic and egotistical at heart, her only true desire is control. A modern psychologist would probably see that as a result of her insecure childhood. Nana herself has no need for explanations. She lives for herself. Period. Zola is known to have been an inspiration to Christopher Hitchens as found in his book Letters to a Young Contrarian (2001). [58] Culture Trip launched in 2011 with a simple yet passionate mission: to inspire people to go beyond their boundaries and experience what makes a place, its people and its culture special and meaningful — and this is still in our DNA today. We are proud that, for more than a decade, millions like you have trusted our award-winning recommendations by people who deeply understand what makes certain places and communities so special.

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. 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.