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

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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 Georges Hugon (Zizi) Her seventeen-year-old son who was Nana's lover for a week and whose infatuation for Nana causes him to stab himself with a pair of scissors. Zola was initially buried in the Cimetière de Montmartre in Paris, but on 4 June 1908, just five years and nine months after his death, his remains were relocated to the Panthéon, where he shares a crypt with Victor Hugo and Alexandre Dumas. [40] The ceremony was disrupted by an assassination attempt by Louis Grégori [ fr], a disgruntled journalist and admirer of Edouard Drumont, on Alfred Dreyfus, who was wounded in the arm by the gunshot. Grégori was acquitted by the Parisian court which accepted his defense that he had not meant to kill Dreyfus, meaning merely to graze him.

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]Na és Nana…..tipikus negatív hős, aki mindent megrohaszt,eltör, tönkretesz.. legyen az élet, vagy tárgy, Nana hatására minden elromlik…. Viszont úgy tudom, hogy Zolának ez nem önálló könyve, hanem a Rougon-Macquart család regényciklusának 9. darabja. A sorban Nana előtt van még 8 kötet, amiket még nem ismerek, emiatt nem húznám le Nana karakterét. Az biztos, hogy barátnőmnek nem választanám, mert túl egoista. 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) Csatlakozom a többséghez a négy csillagommal, noha elviekben ennél kevesebbet adnék. De egyrészről olyan időszakban – nagy sietve „kényszerítve” – olvastam, amikor szívem szerint nem olvastam volna ilyen nagyobb lélegzetű, klasszikust, másrészt elég sokszor untam a történetet (ráadásként a szereplők se igazán fogják meg az embert). Zola in Exile in Weybridge" (PDF). Weybridge Society Newsletter. Weybridge Society. Spring 2019. p.24 . Retrieved 13 February 2023– via weybridgesociety.org.uk. hogy elolvastam, mert a Nana rengeteg későbbi alkotásnak, könyvnek és filmnek is az alapja.emiatt alapmű, ami eddig hiányzott az olvasmánylistámból.

World News Briefs; French Paper Apologizes For Slurs on Dreyfus". The New York Times. Reuters. 13 January 1998 . Retrieved 25 March 2018. This Nana possesses no particularly outstanding traits. She has no wit, no talent, and no intellect. At times, she can respond spontaneously, as when she tries briefly to be true to Georges Hugon, or she can have a perverse sense of loyalty, as when she adheres to Fontan in spite of his brutality. But in general, she is a simple girl from the gutters of Paris who, by accident, possesses the most magnificent and lustful body of the age.While attending the Italian Theater one evening, Fontan is charmed by a new actress in the troupe. Nana ridicules the actress and that night a quarrel ensues. After Nana complains about some cake crumbs in the bed and tries for the second time to get out, Fontan slaps her so hard that she feels dazed. At first Nana resents this brutality, but after a few minutes, she even respects him for treating her in such a manner. Fauchery ​írása … egy fiatal lány története volt, aki alkoholisták negyedik-ötödik generációjából született, vérét megrontotta a nyomor és az ivás tartós örökletessége, mely benne a nőiség kóros túltengésébe csapott át. Egy külvárosban nőtt fel, a párizsi utcakövön; és nagyra, szépre, bujára nőve, mint a trágyadombon hajtatott növény, bosszút állt a koldusokért és az elhagyatottakért, akiktől származott. … Természeti erő lett belőle, a pusztítás kovásza…”

Viszont ez a regény is örök érvényű, a mai világ is tele van Nanával, Faucheryvel és Muffatt gróffal. De korunknak is megvannak az élelmes Zoéi, Zizii is. 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). The following week, at a party given by the Count Muffat, the discussion between the men concerns a party that Nana is giving after her performance. She has told Fauchery to invite the count to the party, but most of the men think that he will not accept. At the party, more people come than Nana had expected; but the count does not come. At the end of the party, Nana decides it is time to look after her own interest and lets Steiner know that she will accept him as a lover. 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)This chapter also presents Nana's initial introduction in the world of lesbianism. As Fontan beats her brutally and refuses to have anything to do with her, she begins to seek some type of consolation elsewhere. The irony here is that Nana is determined to be faithful to Fontan in spite of his brutality. Her associations, therefore, with Satin become a type of outlet from the beatings. At first Nana is horrified by the idea of lesbianism and — consistent with her earlier views — is disgusted with respectable people who debauch themselves. Satin justifies herself simply by saying "that there was no use arguing about tastes, because you never know what you might like some day." And later Satin remarks: "If one did not like something, that was no reason for trying to make others become disgusted with it." At this point, Nana cannot afford to argue about this statement because she is now being beaten by a man, and she continues to live with him and apparently enjoys the beating to a certain degree. Sirven, Alfred; Leverdier, Henri (2011). Nana's Daughter: A Story of Parisian Life. Nobu Press. In French the title was La fille de Nana, réponse au roman naturaliste de Zola or La Fille de Nana, roman de moeurs Parisiennes. Sirven and Leverdier co-authored several works. One was a reply to Dumas. Another, Le Jesuite rouge, contended that the Jesuits organized the Paris Commune to create Jewish martyrs and thereby sympathy for the Jews in France. 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. Nana; first trans. by Douglas Parmee in 1992. Oxford World's Classics. ISBN 978-0-19-283670-0 (re-issue 1999) The self-proclaimed leader of French naturalism, Zola's works inspired operas such as those of Gustave Charpentier, notably Louise in the 1890s. His works were inspired by the concept of heredity and milieu ( Claude Bernard and Hippolyte Taine) [23] and by the realism of Balzac and Flaubert. [24] He also provided the libretto for several operas by Alfred Bruneau, including Messidor (1897) and L'Ouragan (1901); several of Bruneau's other operas are adapted from Zola's writing. These provided a French alternative to Italian verismo. [25]