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

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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.

Zola's output also included novels on population ( Fécondité) and work ( Travail), a number of plays, and several volumes of criticism. He wrote every day for around 30 years, and took as his motto Nulla dies sine linea ("not a day without a line"). The Life of Emile Zola (1937) is a well-received film biography, starring Paul Muni, which devotes significant footage to Zola's involvement in exonerating Dreyfus. The film won the Academy Award for Outstanding Production.

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Nana, a Variétés Színház ünnepelt dívája, a buja szőke Vénusz, akinek lábai előtt ott hever egész Párizs. Fiatalok és vének, arisztokraták és polgárok, gazdagok és szegények, nősek és nőtlenek. És Nana ádáz kéjjel és dühvel tapod rajtuk. Mohón habzsolja és herdálja az életet, keze között hatalmas vagyonok olvadnak el, hószín combjai szorításában férfiak tucatjai vergődnek és zúzódnak halálra. Az olcsó utcalányból lett luxusprostituált tündöklése és bukása egybeesik a második császárság végnapjaival, a porosz–francia háború kitörésével. Correspondence Between Emile Zola and Imprisoned Alfred Dreyfus". Shapell Manuscript Foundation. Archived from the original on 7 July 2012 . Retrieved 29 January 2012.

Nem tudom, miért ez lett Zola leghíresebb könyve, amúgy. Illetve dehogynem: az elefánt a szajha, mint témaválasztás biztos sokat nyomott a latban. Mondanám, hogy „botránykönyv” volt a 19. században, de a saját korában Zola minden könyve „botránykönyv” volt – nem is csoda, sorra leszedi a keresztvizet az összes társadalmi, egyházi és világi rétegről, nyilván bepipul mindenki –, meg mondhatnám, hogy „erotikus” utalások vannak benne, de miután a Szürke-trilógia is „erotikusnak” van feltüntetve, inkább azt mondom, nincsenek. Martyn, Lyons (2011). Books: a living history. Los Angeles: J. Paul Getty Museum. p.143. ISBN 9781606060834. OCLC 707023033.At the famous race, the Prix de Paris, one of the horses is named after Nana. Everyone comes to the race and many bet on the filly, Nana. After the race, which is won by Nana, the owner of the stable, Count Vandeuvres, is suspected of some shady transactions and commits suicide by setting fire to himself and his stables. Nana, however, is celebrated because her namesake won the race. Romaanin lopussa Nana lähtee tapaamaan sairasta poikaansa, saa tältä tappavan tartunnan ja kuolee siihen. Nanan kuolema yllättää kaikki ja hänen surkea loppunsa vie päätökseen hänen loisteliaan elämänsä. Whereas Nana was unable to play the role of a grand lady on the stage, she is "able to assume the role of an enchantress without effort." The house that Count Muffat bought her becomes, in Nana's hands, a show place filled with elegance and taste. She relies upon Labordette to help her hire the necessary personnel to look after the mansion, but by the end of the second month, the expenses for the house exceed three hundred thousand francs; therefore Count Muffat allots her twelve thousand a month for expenses. By this time, Nana has placed him on a firm understanding that he is to come visit her only at prescribed times.

In Zola there is the theorist and the writer, the poet, the scientist and the optimist – features that are basically joined in his own confession of positivism; [ citation needed] later in his life, when he saw his own position turning into an anachronism, he would still style himself with irony and sadness over the lost cause as "an old and rugged Positivist". [53] [54] Countess Sabine de Beuville Count Muffat's wife, who was the pillar of respectability until after her husband began having an affair with Nana. She then has an affair with young Monsieur Daguenet, who was Nana's earlier lover. Blame her if you dare for the life she chose. Blame her if you dare for the lovers she humiliated. Blame her if you dare for the money she wanted and the pain she caused. If she grew up today, she would be a victim from the beginning, entitled to support and pity. In 19th century Paris, she had nothing but what she managed to grab for herself. Cold and manipulative? Yes! But how could she be otherwise, growing up as a child in the abusive home of Gervaise and Coupeau? She had no education to speak of, no social standing, no caring and loving childhood memories, no role models except for the hypocritical Paris society she saw - which was ruled by the sexual desires of men. She never had a chance to enter the official world, and had to provide for herself.Bernheimer, Charles (1999). Constable, Liz (ed.). Unknowing Decadence. Philadelphia: University of Pennsylvania Press. pp.50–64. {{ cite book}}: |work= ignored ( help) Having said that, Nana is a monstrously self-centred, needy character, and she leaves a trail of broken characters in her professional development as a prostitute. She is daring, energetic, intelligent (but without finesse), superficial and vicious. Nana is the perfect incarnation of the corrupt whore, a child of poverty with conservative taste and values, acquired by copying the men who fall for her sexual power. Living apart from so-called respectable society, she nevertheless cultivates aristocratic opinions and traditional artistic and literary taste. She would not have approved of the realistic descriptions in Zola's novels, leaving no space for romantic dreaming and escapism. Opportunistic and egotistical at heart, her only true desire is control. A modern psychologist would probably see that as a result of her insecure childhood. Nana herself has no need for explanations. She lives for herself. Period. a b c d e Marzials, Frank Thomas (1911). "Zola, Émile Édouard Charles Antoine". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol.28 (11thed.). Cambridge University Press. p.1001. More than half of Zola's novels were part of the twenty-volume Les Rougon-Macquart cycle, which details the history of a single family under the reign of Napoléon III. Unlike Balzac, who in the midst of his literary career resynthesized his work into La Comédie Humaine, Zola from the start, at the age of 28, had thought of the complete layout of the series. [ citation needed] Set in France's Second Empire, in the context of Baron Haussmann's changing Paris, the series traces the environmental and hereditary influences of violence, alcohol, and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of the family—the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts—over five generations.