Nana, daughter of a drunk and a laundress, is the Helen of Troy of Paris. A sexually magnetic high-class prostitute and actress, she becomes a celebrity, rapidly conquering society, ruining all men who fall under her spell-especially Count Muffat, Chamberlain to the Empress. Nana herself meets a terrible fate, consumed by her own dissipation and extravagance, just as the disastrous war with Prussia is declared. The Strange Death of Emile Zola". History Today Volume 52. 9 September 2002 . Retrieved 21 February 2017. 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. ) 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)

Nana kuin muidenkin Zolan kirjojen katsotaan olevan malliesimerkki naturalisistisesta tyylisuuntauksesta. Although Zola found it scientifically and artistically unjustifiable to create larger-than-life characters, his work presents some larger-than-life symbols which, like the mine Le Voreux in Germinal, [ citation needed] take on the nature of a surrogate human life. The mine, the still in L'Assommoir and the locomotive La Lison in La Bête humaine impress the reader with the vivid reality of human beings. [ citation needed] The great natural processes of seedtime and harvest, death and renewal in La Terre are instinct with a vitality which is not human but is the elemental energy of life. [52] Human life is raised to the level of the mythical as the hammerblows of Titans are seemingly heard underground at Le Voreux, or as in La Faute de l'Abbé Mouret, the walled park of Le Paradou encloses a re-enactment—and restatement—of the Book of Genesis. [ citation needed] Zola's optimism [ edit ] Luc Barbut-Davray, Portrait of Zola, oil on canvas, 1899 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.

AN ON-LINE INDEX

Dreyfus applied for a retrial, but the government countered by offering Dreyfus a pardon (rather than exoneration), which would allow him to go free, provided that he admit to being guilty. Although he was clearly not guilty, he chose to accept the pardon. Later the same month, despite Zola's condemnation, an amnesty bill was passed, covering "all criminal acts or misdemeanours related to the Dreyfus affair or that have been included in a prosecution for one of these acts", indemnifying Zola and Picquart, but also all those who had concocted evidence against Dreyfus. Dreyfus was finally completely exonerated by the Supreme Court in 1906. [32] King, Graham (1978). Garden of Zola: Emile Zola and his Novels for English Readers. London: Barrie & Jenkins.

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 bargain she makes with Muffat indicates how sophisticated Nana has become. She will become Muffat's mistress and will allow him definite privileges, but in return, he must abide by certain rules and come only at specified times. This bargain is reminiscent of "proviso scenes" in Restoration dramas where characters made stipulations before accepting each other. But by this time, it should be obvious to both the reader and Count Muffat that Nana will be unable to keep her part of the bargain. She is incapable of being faithful to any man. Consequently, she is in the house only a short time before she allows Count Vandeuvres to become her lover also. Her justification is that she wants to prove to herself that she is entirely free. In 1862 Zola was naturalized as a French citizen. [13] In 1865, he met Éléonore-Alexandrine Meley, who called herself Gabrielle, a seamstress, who became his mistress. [11] They married on 31 May 1870. [14] Together they cared for Zola's mother. [12] She stayed with him all his life and was instrumental in promoting his work. The marriage remained childless. Alexandrine Zola had a child before she met Zola that she had given up, because she was unable to take care of it. When she confessed this to Zola after their marriage, they went looking for the girl, but she had died a short time after birth. Monsieur Auguste Mignon Rose's husband, who arranges his wife's love affairs and manages the money she makes.