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Wobec Zoli

100%
Sztachelska J.
Białostockie Studia Literaturoznawcze
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2016
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vol. 8
EN
The article re-evaluates the dominating view of the clearly negative relationship between two writers, Sienkiewicz and Zola. It presents the implications of Sienkiewicz’s 1878 visit to France, and further, it reconstructs his opinions that chronologically coincided with Zola’s greatest popularity. The text provides an analysis of Sienkiwicz’s remarks on Zola’s style, and it proves further that his naturalism did, in fact, help Sienkiewicz develop his own literary technique. Finally, the Polish author’s long-term interest in Zola’s writing certainly demonstrates his fascination with this famous literary persona.
2
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Science, nomenclature et représentation. L’expérience et l’expérimentation dans La Joie de vivre d’Émile Zola

99%
Rachwalska von Rejchwald J.
Studia Romanica Posnaniensia
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2020
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vol. 47
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issue 4
101-109
EN
The article presents a strict interpenetration of scientific discourse and literary fiction on the example of Zolaʼs La Joie de vivre. The coexistence of these discourses is part of the poetics of ambiguity, which is characteristic of the weave of literature and science, where Science opposes Doubt. The purpose of the article is to reflect on the relationship between Experience (everyday life) and Experience (scientific). This conceptual opposition is embodied in a pair of main characters: Pauline and Lazare, equipped with a different attitude to reality and science. She learns human physiology by experiencing changes in her maturing body, which appears to her as a complex, but full of secrets, beautiful machinery. He lives by fearing the body and seeing it as the source of death. He wants to defeat death by coming up with experimental designs that are supposed to make him great and bring immortality. His failures lead him to Doubt and negation of science. Zola decides nothing balancing between knowledge and doubt, affirmation of life and the inevitability of death.
3
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„Co je rozumné, to se (možná) stane skutečným.“

81%
Voldřichová Beránková E., Bartha-Kovács K.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2019
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vol. 59
90-106
EN
The article proposes a contemporary reflection on Hegel’s famous quote “the real is the rational and the rational is the real” that tradition has often misinterpreted. Inspired by a new reading by JeanFrançois Kervégan (which translates the sentence “the rational will become effective/real and the real/effective will become rational”), the article focuses on one of the possible illustrations of this Hegelian thesis. Émile Zola’s novel The Work consists of a very interesting analysis of the notions of reality, effectiveness and rationality that the author applies to both literature and visual arts. Behind the controversies of Pierre Sandoz and Claude Lantier, it is possible to discern all the debates that opposed Émile Zola to his friend Paul Cézanne.
4
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Les jeux d’enfants dans Les Rougon-Macquart

81%
Marzel S.-R.
Quêtes littéraires
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2023
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issue 13
70-81
EN
This article examines children’s games in Les Rougon-Macquart while relying on a typology that includes toys, symbolic plays, and a children’s ball. In addition to their educational and recreational functions, childhood games play various narrative roles, such as constructing a referential universe, creating key moments in the plot, exploring the complexity of child and parental psychology, parent/child relationships and much more. Furthermore, the author, Émile Zola, employs toys and children’s games to inform his reflections on the joint influence of heredity and environment on the fates of characters, in alignment with the principles of the naturalist movement. This approach offers valuable insights into how Zola utilizes children’s games as narrative and symbolic elements within his grand literary tapestry.
FR
Cet article analyse les jeux d’enfants dans Les Rougon-Macquart. Il adopte une typologie qui les classe en trois catégories : les jouets, les jeux symboliques et le bal d’enfants. Au-delà de leur fonction éducative et récréative, les jeux pratiqués par les enfants au sein de cette saga littéraire jouent un rôle complexe dans le développement narratif. Ils contribuent à la construction d’un effet de réel, à la création de moments-clés de l’intrigue, à l’exploration de la psychologie des personnages enfants et de leurs parents, à la relation parent/enfant et bien d’autres encore. En outre, l’auteur utilise les jouets et les jeux d’enfants pour nourrir sa réflexion sur l’influence conjointe de l’hérédité et du milieu sur les destins des personnages, en accord avec les principes du mouvement naturaliste. Cette approche offre un éclairage précieux sur la manière dont Zola exploite les jeux d’enfants comme des éléments narratifs et symboliques dans sa grande fresque littéraire.
5
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Madeleine Férat ou la mémoire dans la peau : l’imprégnation comme procédé mémoriel dans le roman naturaliste

72%
Rondou K.
e-Scripta Romanica
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2023
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vol. 11
9-22
EN
By the time Émile Zola published Madeleine Férat (1868), the motif of the amorous courtesan was already a Romantic cliché. The future leader of the Naturalists therefore wished to distance himself from an outdated concept of the repenting lost woman, and seized upon the embodiment par excellence of the converted sinner in the Judeo-Christian imagination, Saint Mary Magdalene, in order to subvert it. While the Gospels build the character on the dichotomy of fall and redemption, the novelist does not allow his heroine to forget her past. Chapter after chapter, the writer suggests the relentless progression of Madeleine Férat’s dramatic destiny, modernising the ancient Fatum, as he will later do in the Rougon-Macquart novels, by drawing on the medical theories of his time, in this case Dr Prosper Lucas’s publications on seminal impregnation. In spite of herself, Madeleine Férat is subject to the domination of physiological laws that clash with her moral values, and suicide seems to be her only way out. Under Zola’s pen, Marie de Magdala becomes a tragic heroine.
FR
À l’époque où Émile Zola publie Madeleine Férat (1868), le motif de la courtisane amoureuse constitue déjà un poncif romantique. Le futur chef de file des naturalistes souhaite par conséquent prendre ses distances avec une conception dépassée de la femme perdue repentie et s’empare de l’incarnation par excellence de la pécheresse convertie dans l’imaginaire judéo-chrétien, sainte Marie-Madeleine, afin de la détourner. Alors que les évangiles construisent le personnage sur la dichotomie de la chute et de la rédemption, le romancier refuse à son héroïne l’oubli de son passé. L’écrivain suggère d’un chapitre à l’autre la progression implacable de la destinée dramatique de Madeleine Férat et modernise le Fatum antique, comme il le fera par la suite dans les Rougon-Macquart, en s’inspirant des théories médicales de son temps, ici les publications du Dr Prosper Lucas sur l’imprégnation séminale. Madeleine Férat subit malgré elle la domination de lois physiologiques qui s’opposent à ses valeurs morales, et le suicide semble dès lors son unique échappatoire. Sous la plume de Zola, Marie de Magdala devient une héroïne tragique.
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