Emile Zola Sa Vie—Son Oeuvre (French Edition)

Émile Zola : sa vie, son oeuvre
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Please enter a number less than or equal to 1. His first impression of these constructions illuminated by gas, intensified by his hunger and his physical weakness, is that of a fairy play of elegant lines and light. To the imaginative expanse of these enormous spaces, to the audaciousness of their poetic rationality must be added the fantastic speed of their realization, able to change in a short time a whole aspect of the city. The nocturnal vision is the beginning of a series of visions which continue with the changing light of the first morning to the moment of full sunshine.

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While Florent is remembering the moment of his arrest, the traffic grows more intense, the first pavillons, those with the vegetables, open their doors. He takes Florent away in order to show him the Halls of the Great Market.

backbithirduipres.ml While the day dawns, they enter the illuminated Halls which Florent once again beholds, struck by this city within the city which resembles a forest and a world:. Zola vol. Here again, the pure presence transcends itself towards the imaginary or the beautiful, an experience that the eye of no scientific experimenter could have:. Maintenant il entendait le long roulement qui partait des Halles. This is the moment of turmoil and of intensity of colours at their apex:. Ceci tuera cela, le fer tuera la pierre, et les temps sont proches For Claude, the change of paradigm between stone construction and construction in cast iron takes on another significance.

It is the change of a world centered upon religion to a modern world where life itself is a supreme value:. Could they, however, be identified with the reflections of Zola himself? It seems to be evident that Zola wants to replace the imaginary center of the city, which Hugo had created with Notre-Dame de Paris, by its real center which would be the modern construction in cast iron of the Market Halls, a symbol of the material life and its needs.

It seems, however, that by the opposition of perspectives of Claude and Florent, Zola gives a profound ambiguity to this center of modern life. Whereas the Halls as environment are a center of "fat" gras positive and affirmative life, of the life of the stomach, but also of an absolute absence of political consciousness other than that of an affirmation without reserve, Claude, the painter, is the one that transforms this positivity into aesthetic affirmation.

The world of nurture, of meat, of vegetables is a world of jubilant presence, even if no painter before him has ever dared to give to this presence of pathetic life all the sublimity which is due to it.

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But it is exactly this world of presence in itself, this jubilation of the stomach, which causes nausea to Florent, a man of consciousness having his place on the side of the meager ones maigres. Before Sartre, it is Zola for whom the en-soi is the origin of a nausea of a political kind and, could one say, of a metaphysical kind.

oeuvres de paul alexis french edition Manual

Casteras et al. Maison K. Nottingham English influences on Vincent van Gogh. It's about a group of young artists and writers who come to Paris thinking they're going to take it by storm, and the book traces this circle from their youth to middle age. I felt like, "yeah, Zola, you can describe that view of the Quai in Paris to me all you like, but it's just words, dude, and I'm going to see or smell only so much. Though born in Paris in , Zola spent his youth in Aix-en-Provence in southern France, where his father, a civil engineer of Italian descent, was involved in the construction of a municipal water system.

Florent is a new Jean Valjean who, however, is not capable of contributing to the progress of the world, nor of reconciling himself with it. Florent remains the man of negation, the man whose project is one of pure change. From the window of his attic he sees the horizon of the city as a living whole different from the false totalization of the stomach.

This is the reason why he joins a group of pseudo-revolutionaries, of revolutionary lunatics like himself. He will be betrayed, arrested and condemned to a new deportation to Cayenne.

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If the position of Zola in this novel seems to be ambiguous, it is also necessary to take into consideration the myth of Marjolin and Cadine, a myth of a perverse and cruel paradise, of a degraded nature without consciousness. But it seems that neither the perverse world of Marjolin and Cadine nor the end of Florent are the last word of this novel of Paris in the Second Empire. Because if with the disappearence of Florent everything seems to have come back to order again, if the world in itself seems to be freed from any irritation, it is this very world whose days are counted.

The real end of the novel is the end of the Second Empire. In the evening in his attic, leaning against the window, he contemplates for several minutes the horizon of the city. In an article on description which appeared in the journal Le Voltaire on 8 June and was taken up again in the same year in his The Experimental Novel, Zola explains his intentions about A Love Episode and in particular about his great descriptions of Paris ending its five parts like a kind of panoramic symphony:. Zola , The great landscapes of the sky and of the city here are only emanations of life itself and of its impenetrable mystery.

The spectacle of life will make her dream of passion and of the great breath of life which she has not experienced:. Paris, avec le chaos inextricable de ses pierres, luisait comme un cristal. In A Page of Love the totality of the city is present only in the mode of the unreadable. When Jeanne, her daughter, asks her, she has to confess her ignorance.

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The city remains a stranger to her, and it is exactly the spectacle of this unreadable strangeness which fascinates her:. Life transforms itself into a vision, but the real presence is that of breath. Right at the beginning, the narrator says of Helen living her calm and retired life that "she had a light breath", whereas her daughter suffers from "trouble in breathing". The city in its perpetual changes, in its energy, will bring to her its breath of life and make her feel her calmness as an absence of life.

The life of the city becomes breath, and this breath seems to inspire the dynamism of discourse with its transposition of the principal accent from the end of the phrase to its verbal forms, and that is to the middle of phrase, which is unusual in French. This fascinating and strange breath of life gets its incarnation with the person of Doctor Henri Deberle who will become for Helen the object of a violent passion. The descriptions of the panorama of Paris following the moments of the day and of the seasons of the year will follow the line of intensity of this passion, from the moment of its awakening up to the moment when with the death of Jeanne it will find its end.

Deberle is for Helen the life of Paris, the fascination of the unknown. He will become her lover, but he will remain a stranger to her, unknown like the city:. II, ; This page torn out of the book of life is also a page torn out of the book of the city. The life of the city will continue, the life of Helen will continue far from Paris. And yet, what this torn-out page contains is the privileged moment of a perception of the city by a consciousness which opening itself to the city, discovers itself.

This history of the ascendence and the fall of Nana, empress in the empire of senses, is at the same time the allegorical history of the Second Empire and its fall. What will he do? And then?


Supposing this definition to be pertinent, it might appear that Zola was no naturalist at all. It seems rather that he uses this programmatic naturalism as a screen behind which he follows a quite different program.