Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Le geste signifiant. La rhétorique du corps paroxystique dans La Conquête de Plassans d’Émile Zola

100%
Rachwalska Von Rejchwald J.
Cahiers ERTA
|
2019
|
issue 18
125-140
EN
19th century literature makes the body one of the objects of interest treating it as a surface on which signs appear that are a trace of emotions swirling inside it. Zola is one of those writers who put the body centrally to their work, making it a starting point to deepen the mystery of a man. The presented study is an analysis of affects manifesting through the gesture and movements of the body. The main character’s body is, ac‐ cording to the biological model of the epoch, a hysterical type. However, it is not just a hysterical body, but it is also paroxystic which means, the penultimate moment before the end. It is this ri9, externalized in the dynamic posture of the body, that is acting out, assigned to a man, which is the ambivalence of this seemingly obvious model of oversensitive femininity, common in discourses of the 19th century.
2

Détail, signe, tache: La représentation du corps dans le roman d’Émile Zola

100%
Rachwalska Von Rejchwald J.
Roczniki Humanistyczne
|
2018
|
vol. 66
|
issue 5: Neofilologia
75-90
PL
Literatura realistyczna XIX wieku, dążąc do stworzenia możliwie wiernej iluzji rzeczywistości, dochodzi do granic mimesis. Szczegół, który w założeniu miał budować i uwiarygadniać l’effet de réel, z powodu nadmiaru i groteskowości użycia, prowadzącego do desemantyzacji signifié, staje się narzędziem paradoksalnym, bo nadwątlającym fundament kategorii estetycznej jaką jest realizm. Celem artykułu jest wykazanie, że w powieści Zoli, szczegół nie dewaluuje się, ale wręcz przeciwnie, staje się ważnym elementem konstruowania siatki znaczeń oraz kontrapunktem wizualno-rytmicznym. Zastosowanie zmiennej skali percepcji do portretowania ciała odrealnia obserwowane szczegóły i, ryzykownie, dla poetyki realizmu, przesuwa granice świata realnego ku niewidzialnemu. Ewokowany przez Zolę chromatyczny aspekt detali fizjonomii bohaterek (znamiona), świadczy o świadomym zamyśle konstrukcyjnym pisarza, wpisującego figuratywność w misterną konstelację znaczeń funkcjonujących zarówno w ramach cyklu Les Rougon-Macquart, jak także rezonujących z ikonicznym kontekstem epoki (G. Courbet Pogrzeb w Ornans).
EN
Realistic literature of the nineteenth century, striving to create the most faithful illusion of reality, comes to the limits of mimesis. The detail, which was supposed to build and give credibility to l’effet de réel, because of the excess and grotesqueness of use leading to signifié deterioration, becomes a paradoxical tool, because it undermines the foundation of the aesthetic category of realism. The aim of the article is to show that in Zola's novel, the detail does not devaluate, but on the contrary, it becomes an important element in constructing a network of meanings and a visual and rhythmic counterpoint. The use of the variable scale of perception for portraying the body detracts from the observed details and in a risky manner, for the poetics of realism, pushes the boundaries of the real world towards the invisible. The chromatic aspect of detail of the heroine’s physiognomy (signs) evidenced by Zola, testifies to the writer's intentionally constructing figurativeness into an elaborate constellation of meanings functioning both within the Les Rougon-Macquart cycle and resonating with the iconic context of the era (Courbet's painting Burial in Ornans).
FR
La littérature réaliste du XIXe siècle, qui s’évertue à produire une illusion fidèle de la réalité, se heurte aux limites de la mimésis. Le détail, ce fétiche réaliste, à cause de son omniprésence qui épuise le signifié, devient un outil paradoxal, corroborant les assises de l’école réaliste. Pourtant, le détail garde toute sa fragile pertinence dans le roman zolien, contribuant à créer des réseaux sémantiques, visuels et rythmiques. Les signes cutanés qui tachent de noir les visages de personnages féminins, source d’ambiguïtés signifiantes, ne sont des détails ni futiles ni inutiles, mais des unités de sens pluriels (noir/néant/abîme) qui transcendent le cadre du système romanesque, afin de mettre en résonance leur « ardeur sombre » avec le contexte iconique de l`époque (Courbet, L’enterrement à Ornans).
3
Publication available in full text mode
Content available

Cette é­volution qui re­vient. Le portrait (r)évolutif dans l’œuvre d’Émile Zola : le cas de L’Assommoir

100%
Rachwalska Von Rejchwald J.
Cahiers ERTA
|
2018
|
issue 15
93-107
EN
Darwin has become the face of a scientific revolution, initiating what T. Kuhn calls a “paradigm shift”. Darwin’s theory undermined the intellectual foundations on which the understanding of the world was based: stability and unchangeability. Darwin replaces them with the idea of a continuous but imperceptible change – evolution – which takes place in the world of living beings. Literature and culture in the 2nd half of the XIXth century succumbs to the power of this theory, which affects the imagination of the creators. Among them is Zola, in whose cycle Les Rougon‐Macquart we find “evolutionary poetics”, which models the way of presenting the characters (social evolution) and their corporality, which is the purpose of the article to demonstrate (an evolutionary portrait of especially Gervaise Macquart). A fictional body becomes a place of constant transformation, (de/re) materialization, which proves the fluid plasticity of life. After Darwin, dynamism replaces the ontology.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.