Les Rougon-Macquart / par Emile Zola

Mécénat texte imprimé : Cet ouvrage a été numérisé grâce à Julien Latour à la mémoire de Celle qui lui a appris le bonheur, sa mère, Françoise

Nos auteurs dramatiques par Emile Zola

UANL

Tradurre il discorso riportato. Le versioni italiane di "Nana" di Emile Zola (1880-2010)

Il nostro lavoro si inserisce tra i contributi che si rifanno a quella branca di studi traduttologici nota come critica della traduzione; l’elemento di raccordo tra il testo di partenza e la successione dei testi di arrivo su cui baseremo l’analisi è il discorso riportato, un fenomeno complesso, che trova la sua naturale collocazione nei delicati rapporti che intercorrono tra orale e scritto.

"Emile Zola in Menimen!"

Hameliz

Emile Zola [Illustration] : (Porträt)

Scan von Monochrom-Mikroform

Emile Zola, Brustbild

Signatur des Originals: S 36/F10324

Von Emile Zola bis Gerhart Hauptmann : Erinnerungen zur Geschichte der Moderne /

Mode of access: Internet.

Les guerres de dentelles : la société-femme chez Zola

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

E. Zola y B. Pérez Galdós: el personaje femenino en Fortunata y Jacinta y Nana

[ES] Estudio comparativo de las novelas Fortunata y Jacinta, de Pérez Galdós y Nana, de Emile Zola, destacando como tema común el personaje femenino: sus características, trayectorias y simbolismo dentro del conjunto general de la obra.

Astonishing apples: visualising the novel

This paper explores the developing relationship between fictional and visual representations. The impact of visual art on the novel as mimetic is an issue that writers have engaged with and written about from the mid-nineteenth century to the present day, often raising the question of the art/life dialectic and how it has evolved through the novel’s exploration of ideas. From painting, photography, cinema, television and newer digital visual cultures writers have sought to involve themselves in a critical examination of the impact of changes in these forms on other art form and on wider society. How do these visual forms affect what it means to be an artist, a writer, a human being? The paper takes the work of Paul Cezanne as a starting point in the history of representation. Writers such as Rainer Maria Rilke, theorists such as Maurice Merleau-Ponty, and other artists like Picasso, have been influenced by, or responded to, Cezanne’s work and to Cezanne’s writings on art and his letters to his great childhood friend, the novelist Emile Zola. By discussing the creative practice of writing a novel this paper will examine questions of how the novel can, and should, respond to the impact of visual culture’s seeming dominance over other art forms. It also explores what impact new forms of visual culture have had upon the mimetic and formal aspects of the novel and how the novel works as representational, especially in relation to representations of human consciousness. [From the Author]