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

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Naná, determinada por la combinación de su extracción social y su dilatada herencia licenciosa, gran axioma en la filosofía del autor, se hizo puta desde muy temprana edad. No de la calle, aunque utilice la posibilidad si un apuro lo requiere, sino una querida, esas segundas esposas más agasajadas que las primeras pues se decantan siempre por el mejor postor mientras que estas últimas se quedan tranquilas a cambio de pagarles a sus maridos con la misma moneda y seguir disfrutando de su estatus social.

That was also the summer that I discovered Manet for the first time, and I remember a trip to Hamburger Kunsthalle afterwards with the sole aim to see his interpretation of Nana, the confident queen of prostitutes, painted three years before Zola published his novel: Zola's Rougon-Macquart novels are a panoramic account of the Second French Empire. They tell the story of a family approximately between the years 1851 and 1871. These twenty novels contain over 300 characters, who descend from the two family lines of the Rougons and Macquarts. In Zola's words, which are the subtitle of the Rougon-Macquart series, they are "L'Histoire naturelle et sociale d'une famille sous le Second Empire" ("The natural and social history of a family under the Second Empire"). [44] [45] Captain Alfred Dreyfus was a French-Jewish artillery officer in the French army. In September 1894, French intelligence discovered someone had been passing military secrets to the German Embassy. Senior officers began to suspect Dreyfus, though there was no direct evidence of any wrongdoing. Dreyfus was court-martialed, convicted of treason, and sent to Devil's Island in French Guiana. One of these lovers of pleasure, the comedian Fontan, falls in love to the point that he leaves his two rich people and his house and settles in a modest neighborhood to live on what he has obtained by selling all his luxurious belongings. Fontan lives on her and beats her quite often. Still, she complies not only to reject other propositions of more handsome and tender gallants but has to begin implementing street prostitution and, on one occasion, is about to be stopped by the police.The novel was an immediate success. Le Voltaire, the French newspaper that was planning to publish it in installments beginning in October 1879, launched a gigantic advertising campaign, raising the curiosity of the reading public to a fever pitch. When Charpentier finally published Nana in book form in February 1880, the first edition of 55,000 copies was sold out in one day. Flaubert and Edmond de Goncourt were full of praise for Nana. On the other hand, a part of the public and some critics reacted to the book with outrage, which may have contributed to its popularity. Naná es así, juega con hombres y mujeres, se siente “orgullosa de la ruina de sus amantes” y hasta disfruta en ocasiones de ese otro demonio interior que se alimenta del poder sobre los demás, de la omnipotencia sobre los que, sumisos, la rodean, un proceso inagotable e imparable que solo lleva a la rabia autodestructiva, a una escalada de depravaciones sin fin, pues es incapaz de saciar el hambre. Pero Naná también se conmueve con aquellos que estima, los agasaja incluso aunque nada consiga a cambio, es generosa y confiada, una bocazas desconsiderada y mentirosa, una ingenua zalamera, una arrogante y soberbia que se cree más lista que nadie en lo que a su vida se refiere. Ya ven, lo tiene todo para encontrar su perdición, pero…

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I can imagine the outrage this novel (probably one of those racy French novels kept out of the hands of proper Victorian ladies) provoked at the time of publication with its explicit portrait of an actress-cum-prostitute. Zola didn't write to titillate; he himself was outraged (as usual) at a society that was bored, wasteful and decadent, caring only for its own pleasure, thinking nothing of the future, its own excesses causing its collapse. Lo que no terminó de convencerme fue la ejecución de la historia de Naná; para no alargarme mucho, no me creí la trama en algunas partes, especialmente el hecho de que todos los personajes hombres estuvieran enamorados de Naná, que fueran capaces de hacer hasta lo imposible por estar con ella, así tuviera que costarles todo en el proceso (sea lo que eso aplique para cada uno). Lo que no me creo es que alguien sea capaz de dar todo, su vida incluso, por alguien a quien apenas conoce, y que esto sea replicado por muchos personajes, como si estuvieran viviendo una especie de hipnosis; simplemente no cuadra para mí. Hay incluso un personaje —aquí me di cuenta que quizá Zola se estaba 'burlando' de nosotros todo este tiempo— que pide a Naná que lo arruine como a todos los demás, que encuentra fascinante el ser arruinado por ella también. Si esto no es una broma, no sé que lo pueda ser. Por otro lado, hay personajes muy detestables, como por ejemplo Fountan, que mantiene una relación de lo más conflictiva con Naná, y de la que ella ve difícil salir, al volverse un círculo vicioso que no pareciera tener fin. And she could have become a Comtesse or a Marquise and thus vie with someone such as the Comtesse de Castiglione, the lover of Napoleon III.

World News Briefs; French Paper Apologizes For Slurs on Dreyfus". The New York Times. Reuters. 13 January 1998 . Retrieved 25 March 2018. Martyn, Lyons (2011). Books: a living history. Los Angeles: J. Paul Getty Museum. p.143. ISBN 9781606060834. OCLC 707023033.Yet, the impression I get from the way Zola describes things and the language he uses, is that he seems to be condemning those who managed to do so. The velvet drapes, flesh-coloured like the tea-rose pink sky on fine evenings when Venus is gleaming against the soft glow of the setting sun on the horizon, were dotted with the bright stars of silver buttons, while the barley-sugar gilt mouldings descending from each corner and the gold lace round the central panels seemed like darting flames, tresses of red hair floating loose, half-veiling the stark simplicity of the room and emphasizing its voluptuous cool tints. (p.400) Zola del 2022 y el quinto que leo dentro de la saga de Les Rougon-Macquart, y vaya qué gran manera de terminar con otro de mis propósitos del año. Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference

Cézanne et Moi (2016) is a French film, directed by Danièle Thompson, that explores the friendship between Zola and the Post-Impressionist painter Paul Cézanne. [60] Moulin Rouge, θα πω ότι η λογοτεχνία του 19ου αιώνα δε με έχει προδώσει ποτέ μέχρι στιγμής, η δε εκ Γαλλίας με κάνει να νιώθω οικεία σαν στο σπίτι μου. Ο Zola, όχι τυχαία, παραμένει στην ιστορία ως εξαιρετικός μεσίτης της ατμόσφαιρας των ηθών της εποχής του. Το έργο του Les Rougon-Macquart είναι ένα έργο αναμφίβολα μεγάλης αξίας. 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. En fin, que el problema con Naná no es que venda su cuerpo, el problema aparece cuando los hombres creen que lo que compran es su alma. Naná es caprichosa e irreflexiva, despiadada y sentimental, una cabecita loca capaz de llevar por la calle de la amargura a lo más granado de la alta burguesía parisina o de sufrir en sus propias y apetecibles carnes los mismos tormentos que provoca, la misma depravada humillación (”ella le amaba demasiado; de él, hasta era bueno ser abofeteada”). El problema es ese demonio interior, al que me resisto a poner nombre, que por conseguir la menor prueba de afecto nos doblega a todo tipo de humillaciones y abusos, pareciendo que ese mismo trato degradante es el abono que propicia el desarrollo de esa flor carnívora que nos corroe por dentro a base de autodesprecio por ser incapaces de terminar con nuestra vergonzosa situación.Zola was born in Paris in 1840 to François Zola (originally Francesco Zolla) and Émilie Aubert. His father was an Italian engineer with some Greek ancestry, [9] who was born in Venice in 1795, and engineered the Zola Dam in Aix-en-Provence; his mother was French. [10] The family moved to Aix-en-Provence in the southeast when Émile was three years old. Four years later, in 1847, his father died, leaving his mother on a meager pension. In 1858, the Zolas moved to Paris, where Émile's childhood friend Paul Cézanne soon joined him. Zola started to write in the romantic style. His widowed mother had planned a law career for Émile, but he failed his baccalauréat examination twice. [11] [12] As before banker Steiner, Nana's life is deteriorating the monetary funds of Muffat, who also has a wife in anger and revenge for his infidelity by going with lovers and multiplying their expenses. Without mercy, Nana asks him more and more, and every time he cares less, he surprises her with others in his bedroom. Finally, in a reasonably hasty finale (provoked perhaps by the writing in typical episodes of the time) in which it moves away for the courtesan and her lover, Nana moves away from the almost ruined Muffat and goes on a trip. Upon returning to France, he finds that his aunt has neglected his three-year-old son, and he has taken smallpox and died. She becomes infected with this disease and soon dies, taken care of in a hotel by one of her old scene rivals and unable to receive the visit of Muffat. In Paris, Zola maintained his friendship with Cézanne, who painted a portrait of him with another friend from Aix-en-Provence, writer Paul Alexis, entitled Paul Alexis Reading to Zola. ISBN κτλ, κυρίως (αλλά όχι αποκλειστικά) την διέθεταν μικροπωλητές κτλ. Θεωρούσα δηλαδή πως είναι ένα απομεινάρι του παρελθόντος.