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

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Nana si první popularitu získává v divadle. Nehraje sice dobře, ale je krásná. Díky tomu si podmaní významné muže Paříže. Věrnou společnicí je hlavní hrdince komorná Zoe, která je schopna všechny její mužské návštěvy po domě rozmístit tak, aby se nepotkávaly. Později se Nana stane symbolem zla, přičemž vše, s čím má co do činění, je nakonec zničeno. Na své milence klade stále nové požadavky, takzvaně je „vycucává“, až jsou mnohdy dohnáni na samé dno. Z dřívějšího vztahu se kurtizáně narodil syn Ludvíček, ten však později umírá na neštovice. Poté, co se Nana dozví, že zemřel i jeden z jejích milenců, prodává svůj majetek v dražbě a odjíždí z Paříže, kde na ni po nějakém čase všichni zapomínají. Nana se však vrací zpět a zde také podlehne neštovicím. 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]

Monsieur Steiner A wealthy German-Jew banker who is famous for spending fortunes on actresses with whom he is infatuated. One of his fortunes is spent on Nana. The following week, at a party given by the Count Muffat, the discussion between the men concerns a party that Nana is giving after her performance. She has told Fauchery to invite the count to the party, but most of the men think that he will not accept. At the party, more people come than Nana had expected; but the count does not come. At the end of the party, Nana decides it is time to look after her own interest and lets Steiner know that she will accept him as a lover. This Nana possesses no particularly outstanding traits. She has no wit, no talent, and no intellect. At times, she can respond spontaneously, as when she tries briefly to be true to Georges Hugon, or she can have a perverse sense of loyalty, as when she adheres to Fontan in spite of his brutality. But in general, she is a simple girl from the gutters of Paris who, by accident, possesses the most magnificent and lustful body of the age. At intermission, everyone agrees that the production is idiotic, but the main subject is Nana. Several people think they have seen her somewhere, yet no one can make a positive identification. The audience is delighted with the second act. All of the gods from Mount Olympus, dressed incognito, are seen in a Parisian dance hall. Nana is disguised as a fishwife and delights the audience with her natural earthiness. Nana pedig nem nő a szívünkhöz. Nem azért, mert prosti, hanem ahogy – amilyen bután – kezeli az életét és a vele járó lehetőségeket.. Hát még amikor a színésszel áll össze, aki még veri is és kihasználja, hát ott én kész voltam…. Amilyen vagyonokat elherdál éveken át! Ráadásul amikor jól megy neki, se veszi magához a fiát (véglegesen), ami nem igazán jó anyára vall (azért a palotában igazán elfért volna az a gyerek úgy, hogy ne lássa, mi zajlik itt-ott a falak mögött). A férfiak pedig… hát, hihetetlen szinte, hogy ennyire h..ék legyenek ők is, egész vagyonukat elherdálva egy olyan nőre, aki úgy bánik velük, mint egy bolhás kutyával… Az egész sztoriban szerintem a leginkább életképes – bár kurtára szabott – szerep Zoét illeti.

The bargain she makes with Muffat indicates how sophisticated Nana has become. She will become Muffat's mistress and will allow him definite privileges, but in return, he must abide by certain rules and come only at specified times. This bargain is reminiscent of "proviso scenes" in Restoration dramas where characters made stipulations before accepting each other. But by this time, it should be obvious to both the reader and Count Muffat that Nana will be unable to keep her part of the bargain. She is incapable of being faithful to any man. Consequently, she is in the house only a short time before she allows Count Vandeuvres to become her lover also. Her justification is that she wants to prove to herself that she is entirely free.

Bernheimer, Charles (1999). Constable, Liz (ed.). Unknowing Decadence. Philadelphia: University of Pennsylvania Press. pp.50–64. {{ cite book}}: |work= ignored ( help) Although Zola and Cézanne were friends from childhood, they broke in later life over Zola's fictionalized depiction of Cézanne and the Bohemian life of painters in his novel L'Œuvre ( The Masterpiece, 1886). Most of the Rougon-Macquart novels were written during the French Third Republic. To an extent, attitudes and value judgments may have been superimposed on that picture with the wisdom of hindsight. Some critics classify Zola's work, and naturalism more broadly, as a particular strain of decadent literature, which emphasized the fallen, corrupted state of modern civilization. [46] Nowhere is the doom-laden image of the Second Empire so clearly seen as in Nana, which culminates in echoes of the Franco-Prussian War (and hence by implication of the French defeat). [47] Even in novels dealing with earlier periods of Napoleon III's reign the picture of the Second Empire is sometimes overlaid with the imagery of catastrophe. [ citation needed] Poster by Léon Choubrac advertising the publication of Zola's novel Germinal in Gil Blas, 25 November 1884

Fontan The leading actor for the Variety Theater. Nana becomes infatuated with him in spite of the fact that he is cruel to her. 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.

Rougon-Macquart cycle: Work by Zola". Encyclopædia Britannica. Encyclopædia Britannica, Inc. Retrieved 3 November 2016. After the play, the audience leaves with mixed emotions. La Faloise assures Bordenave that the play will be highly successful. The self-proclaimed leader of French naturalism, Zola's works inspired operas such as those of Gustave Charpentier, notably Louise in the 1890s. His works were inspired by the concept of heredity and milieu ( Claude Bernard and Hippolyte Taine) [23] and by the realism of Balzac and Flaubert. [24] He also provided the libretto for several operas by Alfred Bruneau, including Messidor (1897) and L'Ouragan (1901); several of Bruneau's other operas are adapted from Zola's writing. These provided a French alternative to Italian verismo. [25] 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. 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 Fauchery, a journalist, arrives at the Variety Theater thirty minutes early because his cousin Hector de la Faloise is excited about seeing a new production entitled The Blond Venus. There is a general air of anticipation awaiting the appearance of a new actress named Nana, who will play the role of Venus.

Kirjan päähenkilö Anna "Nana" Coupeau on pääesiintyjä ranskalaisen Variétés-teatterin uudessa näytelmässä ”Vaalea Venus”. Nana ei osaa laulaa eikä tanssia, mutta hurmaa ensi-illassa Pariisin eliitin kauneudellaan. Nana on samanaikaisesti sekä näyttelijätär, että kurtisaani, yönsä hän viettää eri miesten kanssa. Nanan kamarineiti Zoé hoitaa hänen kotiaan, ottaa vastaan vieraita ja avustaa Nanaa esimerkiksi pukeutumisessa. 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. Estelle The priggish daughter of the Muffats, who has a large dowry and who later marries Nana's earlier lover, Daguenet. The country house is owned by Madame Hugon, the mother of Georges, who shouted in the theater that Nana was wonderful. When Georges hears about Nana's visit, he goes to see her. He is so young that Nana does not want to accept him as a lover, but after some mild persuasion she succumbs. This new relationship pleases her so much that she decides to postpone her affair with Count Muffat. After a week, however, Georges' relationship is discovered and his mother forces him to remain at home. Then Count Muffat slips into Nana's bedroom and begins his love affair with her. Had Nana been a child of today, forced to grow up in the social circumstances of her parents' poverty, violence and alcoholism in the depressing Parisian Goutte d'Or, she would have been moved to a foster family, and sent to family therapy with her brothers.Manet, who was much taken with the description of the "precociously immoral" Nana in Zola's L'Assommoir gave the title "Nana" to his portrait of Henriette Hauser before Nana was published. [5] [ failed verification] Vizetelly, Ernest Alfred (1904). Émile Zola, Novelist and Reformer: An Account of His Life & Work. John Lane, the Bodley Head. p. 511. The manner in which Zola casually introduces most of his main characters attests to the careful planning that went into the novel. A cursory review of the characters and their ultimate destinies will substantiate the artistic unity of the novel. The first characters to appear are Fauchery and his cousin Hector de la Faloise. Later Fauchery is to write a good review of Nana's initial performance; still later he will write a condemnation of her ("The Golden Fly"); he will also become the lover to the wife of Nana's lover. La Faloise will later be delighted to be ruined by Nana. Steiner is introduced in the presence of the Mignons and later his entire fortune will collapse under Nana's destructive desire. Count Xavier de Vandeuvres will commit suicide when Nana has devoured his fortune. Both the Count and Countess Muffat de Beuville will be utterly ruined because of Nana, and the final ruin will be brought about by the discovery of the old Marquis de Chouard, who is now seen sitting with his daughter and son-in-law. Georges Hugon, who will later stab himself, is seen as the enthusiastic admirer during the performance. Vizetelly, Ernest Alfred (1904). "Émile Zola, Novelist and Reformer: An Account of His Life & Work". 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.