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Tolstoy and Zola: Trains and Missed Connections
Tolstoy and Zola: Trains and Missed Connections Nina Lee Bond Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 © 2011 Nina Lee Bond All rights reserved ABSTRACT Tolstoy and Zola: Trains and Missed Connections Nina Lee Bond ŖTolstoy and Zolaŗ juxtaposes the two writers to examine the evolution of the novel during the late nineteenth century. The juxtaposition is justified by the literary critical debates that were taking place in Russian and French journals during the 1870s and 1880s, concerning Tolstoy and Zola. In both France and Russia, heated arguments arose over the future of realism, and opposing factions held up either Tolstoyřs brand of realism or Zolařs naturalism as more promising. This dissertation uses the differences between Tolstoy and Zola to make more prominent a commonality in their respective novels Anna Karenina (1877) and La Bête humaine (1890): the railways. But rather than interpret the railways in these two novels as a symbol of modernity or as an engine for narrative, I concentrate on one particular aspect of the railway experience, known as motion parallax, which is a depth cue that enables a person to detect depth while in motion. Stationary objects close to a travelling train appear to be moving faster than objects in the distance, such as a mountain range, and moreover they appear to be moving backward. By examining motion parallax in both novels, as well as in some of Tolstoyřs other works, The Kreutzer Sonata (1889) and The Death of Ivan Il'ich (1886), this dissertation attempts to address an intriguing question: what, if any, is the relationship between the advent of trains and the evolution of the novel during the late nineteenth century? Motion parallax triggers in a traveler the sensation of going backward even though one is travelling forward. -
University of Cincinnati
UNIVERSITY OF CINCINNATI _____________ , 20 _____ I,______________________________________________, hereby submit this as part of the requirements for the degree of: ________________________________________________ in: ________________________________________________ It is entitled: ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ Approved by: ________________________ ________________________ ________________________ ________________________ ________________________ POCHÉ PARISIENNE: THE INTERIOR URBANITY OF NINETEENTH CENTURY PARIS A Thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in the Department of Architecture of the College of Design, Architecture, Art, and Planning 2001 by Sudipto Ghosh Dip. Arch (B. Arch), C.E.P.T, Ahmedabad, India, 1997 Committee Chair: John E. Hancock Poché Parisienne: The Interior Urbanity of Nineteenth Century Paris ABSTRACT The “Haussmannization” of Paris was characterized as much by what it ‘defined’, as by what it excluded. The thesis focuses on the apartment houses, the brothels, and the sewers as embodiments of those exclusions that were part of the process of Paris’s modernization between 1852 and 1870. By analyzing the representations of these spaces in architectural drawings, photographs and the literary novel, the paper posits that poché, an architectural drawing technique of defining and excluding, was implicitly a part of that process. For Haussmann and Napoleon III, the image of progress was built upon the elimination of all that could not be observed, decoded, or homogenized. In attacking the hidden pockets of private spaces of the apartment houses of the lower classes, the brothels, sewers and catacombs as disorderly, unhygienic and immoral, the State promoted notions of progress as scientific, hygienic and moral. -
Le Naturalisme Sur La Scène De L'opéra Lyrique
Université Lumière Lyon 2 Le Naturalisme sur la scène de l’Opéra lyrique Roxane SIFFER Sous la Direction de Mme Sophie PAPAEFTHYMIOU Août-Septembre 2010 Table des matières Remerciements . 5 Introduction. 6 PREMIERE PARTIE : LE THEATRE LYRIQUE COMME MOYEN D’EXPRESSION: LE PROLONGEMENT ET L’ACHEVEMENT DU COMBAT NATURALISTE . 20 SECTION PREMIERE : Genèse et collaborations du couple fondateur : Zola-Bruneau . 20 A°) L’acte de naissance du naturalisme : la rencontre d’Emile Zola et d’Alfred Bruneau . 20 B°) L’œuvre singulière d’Alfred Bruneau . 26 SECTION DEUXIEME : La confusion entre le naturalisme et les Dreyfusards . 33 A°) D’une coopération artistique à l’engagement politique : l’affaire Dreyfus en toile de fond . 33 B°) La prise de position de Bruneau en faveur de Zola . 37 SECTION TROISIEME : L’Affaire Dreyfus : une affaire politique dans les coulisses de l’opéra . 38 A°)Le combat naturaliste sur la scène lyrique : le prolongement du combat dreyfusard . 38 B°)Triomphes et de défaites du naturalisme musical . 40 C°) Un répertoire trop figé historiquement: du mépris à l’oubli . 43 DEUXIEME PARTIE : LE NATURALISME LYRIQUE: UN MOUVEMENT MUSICAL CONTESTE ET INCOMPRIS . 46 SECTION PREMIERE : Les difficultés techniques et l’absence de réelle identité musicale . 46 A°) L’influence du wagnérisme: un héritage romantique indubitable . 46 B°) Style et registres de langue du naturalisme: la négation des canons de l’opéra lyrique . 50 SECTION SECONDE : Les élites de l’univers musical réservées à l’égard du naturalisme lyrique . 59 A°) Des journaux hostiles à l’avènement d’un genre “profane” sur la scène lyrique: . 59 B°) Les directeurs des théâtres lyriques nationaux, majoritairement hostiles aux opéras naturalistes . -
The Novel Map
The Novel Map The Novel Map Space and Subjectivity in Nineteenth-Century French Fiction Patrick M. Bray northwestern university press evanston, illinois Northwestern University Press www.nupress.northwestern.edu Copyright © 2013 by Northwestern University Press. Published 2013. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication data are available from the Library of Congress. Except where otherwise noted, this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. In all cases attribution should include the following information: Bray, Patrick M. The Novel Map: Space and Subjectivity in Nineteenth-Century French Fiction. Evanston, Ill.: Northwestern University Press, 2013. The following material is excluded from the license: Illustrations and the earlier version of chapter 4 as outlined in the Author’s Note For permissions beyond the scope of this license, visit www.nupress.northwestern.edu An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org. Contents List of Illustrations vii Acknowledgments ix Author’s Note xiii Introduction Here -
Zola's "La Joie De Vivre": a Critical Study
ZOLA 'B "LA JOIE DE VIVRE" :.. A CRITICATi STUDY / ,. ZOLA tg ItLA JOIE DE VIVRE": ,A CRITICllli OTUDY By DAVID BOND, BoA~ A Thesis Submi tted to the Facul t'y of Graduate Studies in Partial Fulfilment of tl1e Requirements f0r the Degree f'1aster of Arts McMaster University May 1968 M.t\8 frER OF AHT8 (1968) r1cr11Î.GrJ~:r:;;n . urnVETI[3ITY (Homance Languae;es) Hamilton ,. Ontélrio TITLE: Zolo.'IJ "La Joie do Vivre": A Criticsl Gtudy AUTHOR!_ Dav-icl Bond, B.A. (London) 8UPERVISOR: Professor O.R.Morcon Nu~mER OF PAGES: iv, 125 nCOIJE AND CONTENTS:. A critical analysis of Zola'o Ln Joie de Vivre tocether with certain biographicQI ïnformotion and details of Zola's methodo of composi·tionO' ii l shoulcl like to thal1.k Professor rlorfSon for his help and" criticism in the prel>oration of thin study. iiï TABEE OF CONTEN"TS INTRODUCTION 1 1. A BIOGRAPHTCl\I, NO~~E IT.. ZOLA t J] r'JETIIOD OF COMPOGITION 16 TIT.> THE ROUGON-MACQUART CYCLE END LA JOIE DE VIVRE 22 IV. DECAY,.· DEA TH AND PE:3GIMIGN IN LA JOIE DE VIVRE 29 A. A Reflection aï the Ace 29 B 0" The Influence of Schopenhauer Ll-O V.,.. THE CHARKCTERS 54- AG Zola Vs Metliod of Charact'erisat:ton 54 B .... The Frinïcïpal Charact"ers 61 C .. The .Geconël."ary Characters: 88 VI_ Tlffi COJWOSITION AND STYLE OF LA JOIE DE VIVRE 103 CONCLUSION 116 BIBLIOGRAPHY 123 ï'v IN'I\I~ODUCTJON The purposo of this D1ïudy is to eXDmino one of Zola's lesser-known novels, La Joio de Vivre, nnd the li[';ht which it thro\r>JS on the author' s methods of composition. -
Lincoln Film Society Patron: Jim Broadbent
Lincoln Film Society Patron: Jim Broadbent Friday, January 23rd, 7.30pm In Secret (15) dir: Charlie Stratton starring: Elizabeth Olsen, Oscar Isaac, Jessica Lange sponsor: LFS member this review is reproduced with the kind permission of Sight and Sound magazine After a career in television, Charlie Stratton turns to feature directing with an American adaptation of Thérèse Raquin, the 19th century novel by Emile Zola about an obsessive affair that precipitates murder and its ghouls of conscience. But heavy- handedly reproducing the book's more pulpish, gothic aspects at in Madonna's W.E. (2011) and he has rakish magnetism down pat. the expense of character exploration or stylistic risk, his insipidly Elizabeth Olsen seems less sure of what to bring to thinly named In Secret lacks a stamp of fresh personality or sketched Thérèse. She's all gasps and barely concealed, fixated contemporising flair. looks that don't get beyond shorthand eroticism. Stratton at first seems keen to play up her desire as liberating sexual awakening, The Victorian period's fascination with morbidity colours the but as the lovers throw themselves into their trysts, hardly caring film's world. In an awkward rush of broad-stroke exposition, the if they are discovered, it's more light, situational farce (he hides child Thérèse, her mother dead, is deposited in the rain at the under her skirts) than anything transgressive. home of her widowed aunt, Madame Raquin, who enshrines in needlepoint tapestry the household dictum: “Don't make a Although Thérèse Raquin shocked in its day, its brand of sound.” As Madame Raquin, Jessica Lange is convincingly flinty hysteria and comeuppance via guilty conscience has little to hook and emotionally needy by turns, but such blunt literalism is modern audiences who have moved on to more graphic assaults difficult for her and the rest of the cast to ignite. -
The Reception of the Ladies Paradise in Nineteenth- Century England and the Fight Against Sensual Capitalism
The Reception of The Ladies Paradise in Nineteenth- Century England and the Fight Against Sensual Capitalism by Diana Kolesnik A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfilment of the requirements for the degree of Master of Arts In Political Economy Carleton University Ottawa, Ontario © 2020 Diana Kolesnik Acknowledgments From the bottom of my heart I would like to express my deep and sincere gratitude to my research supervisor, Professor Danielle Kinsey for guiding me and motivating me throughout my research. Her optimism, insight and vision helped push me and inspire me when things got tough. Her humor, wit and knowledge kept me engaged and eager to learn more about history and literature. It has been a great privilege and honor to work alongside Professor Kinsey and I am incredibly grateful for everything she has done for me throughout this experience. I truly could not have done this without her support. I would also like to say thank you to my committee, Professor Sarah Brouillette and Professor Justin Paulson. Though our committee was formed only in the very late stages of my thesis, I am sincerely grateful for them accepting to be part of my thesis committee. Without their time and comments, my thesis submission would not have been possible. Thank you, truly. I am also extending my gratitude to Carleton University for accepting me into the Political Economy program and allowing me to be part of such a great institution. This has been a fantastic experience and I have learned so much going forward. -
Zola As Pornographic Point of Reference in Late Nineteenth-Century Brazil
Zola as Pornographic Point of Reference in Late Nineteenth-Century Brazil Leonardo Mendes Rio de Janeiro State University RÉSUMÉ: Lorsqu’elle fit son apparition sur la scène littéraire, la fiction naturaliste fut, à tort, régulièrement représentée comme de la pornographie. Nombreux étaient ceux qui pensaient que les auteurs naturalistes écrivaient de la littérature pornographique sous le couvert de prétentions scientifiques. Aussi Zola eut-il à lutter toute sa vie contre sa réputation lascive. Au Portugal, Eça de Queirós en vint à reconnaitre qu’il était inutile de se battre contre la perception généralisée selon laquelle la fiction naturaliste était malpropre et ordurière. L’éditeur anglais de Zola fut jugé et reconnu coupable de traduire et vendre des romans naturalistes français. Au Brésil, les périodiques rapportèrent ces incidents en reproduisant des colonnes de journaux et en répandant des jugements qu’ils s’étaient souvent appropriés. Des éditeurs et des libraires brésiliens s’associèrent pour annoncer les œuvres de fiction naturalistes licencieuses sous l’euphémisme “Lectures légères.” Ces œuvres naturalistes étaient ainsi vendues et lues comme des histoires de sexe et de nudité. Quoique ce ne fût sans doute pas là son intention, Zola, figure centrale du mouvement, devint une référence incontournable pour les libraires et les lecteurs de littérature licencieuse. Nous nous proposons ici d’explorer le renom de Zola au Brésil au XIXe siècle et son statut de référence pornographique dans cette société. Naturalism and pornography It may seem odd that naturalist fiction was deemed pornographic when it first circulated, in Europe and in Brazil, but the evidence that this was so can be found everywhere in primary and secondary sources. -
Fashion, Fiction, and Femininity in Second Empire France
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Designing Women: Fashion, Fiction, and Femininity in Second Empire France Sara Frances Phenix University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Other Languages, Societies, and Cultures Commons, and the Women's Studies Commons Recommended Citation Phenix, Sara Frances, "Designing Women: Fashion, Fiction, and Femininity in Second Empire France" (2013). Publicly Accessible Penn Dissertations. 911. https://repository.upenn.edu/edissertations/911 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/911 For more information, please contact [email protected]. Designing Women: Fashion, Fiction, and Femininity in Second Empire France Abstract This dissertation explores the role of fashion and fashion journal discourse in some of the most widely read French novels of the nineteenth century: Gustave Flaubert's Madame Bovary (1857), �mile Zola's La Curée (1871), and Edmond de Goncourt's Chérie (1884). As access to popular styles and fashion magazines became increasingly democratized over the course of the nineteenth century, Second Empire Paris, with its new public parks, cafés, and amusements, became the locus of an unprecedentedly visual culture. Though fashion has often been considered a feminine frivolity in scholarly circles, I argue for its importance in the Second Empire as economic engine, powerful political tool, and visual signifier of social status. The rising significance of fashion in nineteenth-century French cultural life is paralleled by an increased interest in la mode in male-authored realist and naturalist texts. In the decline and dissolution of their respective heroines, I explore how Flaubert, Zola, and Goncourt thematize and problematize the kind of gaze that fashion elicits. -
Science, Fiction, and Commerce in Duck Dynasty and Swamp People
Louisiana-Style Naturalism? Science, Fiction, and Commerce in Duck Dynasty and Swamp People Elizabeth EMERY Montclair State University RÉSUMÉ La Louisiane, ou “Hollywood South” dans le langage du show-biz américain, est actuellement un des hauts lieux de la téléréalité américaine grâce aux avantages fiscaux offerts par cet état ainsi qu’à sa réputation d’abriter des citoyens plus vrais que nature. Pourtant, la plupart de ces émissions télévisées ne suivent pas la formule classique de la téléréalité héritée de Survivor ou Big Brother où la concurrence et l’élimination sont à l’ordre du jour. Au contraire, les producteurs des émissions consacrées à la Louisiane, telles que Swamp People, Duck Dynasty et Cajun Pawn Stars positionnent leur série comme documentaires nature: des études anthropologiques sur des familles habitant des milieux bien déterminés. Cet article décrit les milieux insolites promus par les séries Swamp People et Duck Dynasty afin de comparer le cadre narratif employé par les producteurs de ces séries à celui utilisé par Émile Zola dans ses romans L’Assommoir et Germinal. Bien que ces producteurs de téléréalité ne se disent pas inspirés par les théories scientifiques si fondamentales pour les manifestes naturalistes de Zola, ils n’en examinent pas moins eux aussi l’influence qu’exerce le milieu sur les familles défavorisées. Et comme Zola, leur cru de naturalisme n’est pas à l’abri des impératifs commerciaux. Louisiana is known as “Hollywood South” because of a generous tax credit program instituted in 2002 that makes it attractive to film there. A New York Times article published in May 2013 drew national attention to a subset of this industry – Reality TV – which has flourished over the last few years because of these tax laws, but perhaps even more so, as Campbell Robertson has suggested, because of the state’s reputation for colorful and talkative locals who play well on television: “There is […] general agreement that Louisiana is just more interesting than other places, with an ideal mix of Deep South exotica and regular folk accessibility. -
Sabine Schenk Running and Clicking Narrating Futures
Sabine Schenk Running and Clicking Narrating Futures Edited by Christoph Bode Volume 3 Sabine Schenk Running and Clicking Future Narratives in Film The research leading to these results has received funding from the European Research Council under the European Community’s Seventh Framework Programme (FP7/2007-2013) / ERC grant agreement no. 229135. ISBN 978-3-11-027215-4 e ISBN 978-3-11-027243-7 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de . © 2013 Walter de Gruyter GmbH, Berlin/Boston Typesetting: PTP-Berlin Protago-TEX-Production GmbH, Berlin Printing: Hubert & Co. GmbH & Co. KG, Göttingen ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Acknowledgments [Mr. Englethorpe said:] “But to me, there is no higher honor one can give to a text than to return to it and re-examine its contents, to ask of it, ‘Does this still hold true?’ A book that is read, then forgotten – that is a mark of failure to me. But to read and reread… that is faith in the process of evolution” “Well, why dont you write one? Why don’t you collect all of your works together and write a book” Emma asked, almost exasperated. “Perhaps” Mr. Englethorpe said thoughtfully. “I am not sure which of my works to select for this book. Or perhaps I am just scared no one will read it… let alone reread it and deem it worthy of revision. -
Listening in Paris: a Cultural History, by James H
Listening in Paris STUDIES ON THE HISTbRY OF SOCIETY AND CULTURE Victoria E. Bonnell and Lynn Hunt, Editors 1. Politics, Culture, and Class in the French Revolution, by Lynn Hunt 2. The People ofParis: An Essay in Popular Culture in the Eighteenth Century, by Daniel Roche 3. Pont-St-Pierre, 1398-1789: Lordship, Community, and Capitalism in Early Modern France, by Jonathan Dewald 4. The Wedding of the Dead: Ritual, Poetics, and Popular Culture in Transylvania, by Gail Kligman 5. Students, Professors, and the State in Tsarist Russia, by Samuel D. Kass ow 6. The New Cultural History, edited by Lynn Hunt 7. Art Nouveau in Fin-de-Siecle France: Politics, Psychology, and Style, by Debora L. Silverman 8. Histories ofa Plague Year: The Social and the Imaginary in Baroque Florence, by Giulia Calvi 9. Culture ofthe Future: The Proletkult Movement in Revolutionary Russia, by Lynn Mally 10. Bread and Authority in Russia, 1914-1921, by Lars T. Lih 11. Territories ofGrace: Cultural Change in the Seventeenth-Century Diocese of Grenoble, by Keith P. Luria 12. Publishing and Cultural Politics in Revolutionary Paris, 1789-1810, by Carla Hesse 13. Limited Livelihoods: Gender and Class in Nineteenth-Century England, by Sonya 0. Rose 14. Moral Communities: The Culture of Class Relations in the Russian Printing Industry, 1867-1907, by Mark Steinberg 15. Bolshevik Festivals, 1917-1920, by James von Geldern 16. 'l&nice's Hidden Enemies: Italian Heretics in a Renaissance City, by John Martin 17. Wondrous in His Saints: Counter-Reformation Propaganda in Bavaria, by Philip M. Soergel 18. Private Lives and Public Affairs: The Causes Celebres ofPre Revolutionary France, by Sarah Maza 19.