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

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Besides the emphasis on the mass reaction of the audience, Nana's sexuality is equally emphasized. The entire novel will concern itself with the sexual desires aroused by the physical appearance of Nana's voluptuous body. We must throughout the rest of the novel be constantly aware that there are two Nanas. One is the simple girl of the streets who seems to possess no particular or outstanding attributes, but the other is that symbolic Nana who represents all the sexuality inherent throughout society. The first Nana is simpleminded and gives herself to anyone at any time. The other Nana is the voluptuous incarnation of the love goddess, Venus, who reclines on sumptuous beds costing a small fortune and who evokes hitherto latent urges in everyone. Throughout the entire novel, the reader should be aware of how often the individual chapters are filled with crowd scenes. Perhaps no writer of the nineteenth century filled his novels with so many scenes of such great diversity. Few writers can equal Zola in his ability to render the emotion gripping an entire mass of people. This ability is amply illustrated in the first chapter of the novel, as Nana stands on the stage in her nudity and entrances an entire audience of diverse people. On an initial reading, Zola's beginning offers much difficulty for the inexperienced reader since he refuses to focus his attention on one dominant character. But his intent is to try to capture as much as possible the diverse elements which succumb to the spell of Nana's sexuality.

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. 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. Bordenave, the producer of the play, meets the two young men and embarrasses the naive la Faloise by insisting that the theater be called a whorehouse. He describes his new actress Nana, as a cheap whore "who sings like a crow" and "has no notion what to do with her hands and feet." However, he is confident that both Nana and the show will be a success because "Nana has something else, something as good as all the other things put together." That night, Fontan writes a letter to Georges for Nana. He has always amused himself by writing Nana's love letters, but that night, Nana does not respond correctly to his efforts and another argument begins. Fontan demands to see how much money there is left in their joint account. When he discovers that it is less than seven thousand, he decides to keep it all. Nana reminds him that she put ten thousand into the undertaking, but Fontan only beats her severely as a rejoinder. From that day onward, he gives her only three francs a day with which to buy groceries. Then, after a while, he even forgets to give her this paltry amount. Consequently, when Nana meets Madame Tricon one day by accident, she begins to accept side visits from customers. By this device, she is able to buy good meals for Fontan, and as a result of degrading herself to support him, she begins to love him even more.

Zola died on 29 September 1902 of carbon monoxide poisoning caused by an improperly ventilated chimney. [35] His funeral on 5 October was attended by thousands. Alfred Dreyfus initially had promised not to attend the funeral, but was given permission by Zola's widow and attended. [36] [37] At the time of his death Zola had just completed a novel, Vérité, about the Dreyfus trial. A sequel, Justice, had been planned, but was not completed.

Barnes, Julian (15 April 2011). "Edouard Manet: Symphony in off-white". The Guardian . Retrieved 26 February 2016. Mitterand, Henri (1986). Zola et le naturalisme[ Zola and Naturalism]. Que sais-je? (in French). Paris: Presses Universitaires de France. ISBN 978-2-13-039642-0. OCLC 15289843.Monsieur Mignon appears with the wealthy German-Jew banker, Steiner, who is having an affair with Mignon's wife Rose, the leading actress. Mignon, who arranges his wife's love affairs, tries to lead Steiner away from the discussion about Nana. A handsome young man, Daguenet, passes the group and is identified as Nana's lover. Count Xavier de Vandeuvres comes forward to speak to Fauchery just as a crowd on the street begins to chant Nana's name. Everyone goes to his seat to await the curtain. While waiting, Fauchery identifies many of the famous courtesans seated in the boxes. Fauchery is surprised when la Faloise greets the famous Count and Countess Muffat de Beuville and her father, the Marquis de Chouard. In 1888, he was given a camera, but he only began to use it in 1895 and attained a near professional level of expertise. [15] Also in 1888, Alexandrine hired Jeanne Rozerot, a 21-year-old seamstress who was to live with them in their home in Médan. [16] The 48-year-old Zola fell in love with Jeanne and fathered two children with her: Denise in 1889 and Jacques in 1891. [17] After Jeanne left Médan for Paris, Zola continued to support and visit her and their children. In November 1891 Alexandrine discovered the affair, which brought the marriage to the brink of divorce. [ citation needed] The discord was partially healed, which allowed Zola to take an increasingly active role in the lives of the children. After Zola's death, the children were given his name as their lawful surname. [18] Career [ edit ] Zola early in his career

Rougon-Macquart cycle: Work by Zola". Encyclopædia Britannica. Encyclopædia Britannica, Inc. Retrieved 3 November 2016.Ráadásul a leírások nagyon érzékletesek, például rögtön az elején a színház hátsó traktusának – és annak minden zugának, illatának (szagának), színének és érzetének leírása annyira hű volt, hogy teljesen ott éreztem magam a szűk folyosókon és én is bekukkantottam a különböző kis öltözőkabinokba-helyiségekbe… Csak a későbbiekben már unalmassá vált a leírások ilyen jellegű ömlesztése, tényleg nagyon kevés a párbeszéd és nagyon kevés a voltaképpeni cselekmény az egész történetben.