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

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Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference Vizetelly, Ernest Alfred (1904). Émile Zola, Novelist and Reformer: An Account of His Life & Work. John Lane, the Bodley Head. p. 511.

Paris Monuments Panthéon-Close up picture of the interior of the crypt of Victor Hugo (left) Alexandre Dumas (middle) Emile Zola (right)". ParisPhotoGallery. Archived from the original on 19 April 2012 . Retrieved 30 January 2012.

In the preface to the first novel of the series, Zola states, "I want to explain how a family, a small group of regular people, behaves in society, while expanding through the birth of ten, twenty individuals, who seem at first glance profoundly dissimilar, but who are shown through analysis to be intimately linked to one another. Heredity has its own laws, just like gravity. I will attempt to find and to follow, by resolving the double question of temperaments and environments, the thread that leads mathematically from one man to another." [19]

Pues bien, señoras y señores lectores, en la novela encontrarán mucho, mucho, pero que mucho sexo: sexo comprado, sexo negado, sexo anhelado, sexo por venganza, sexo conquistado, sexo tierno, sexo exigido, sexo por lástima, sexo rabioso, sexo dadivoso, sexo reconfortante, sexo suplicado… hay hasta sexo por amor. Nada explícito, que nadie se me asuste, pero con buen pie para la imaginación del lector, que nadie se me desilusione tampoco. Entiéndanme bien, hablo del sexo libremente ejercido, aunque haya dinero de por medio, y quién dice dinero puede decir también estatus social, casita con jardín y BMW en el garaje, ese sexo que se puede ofrecer seleccionando al cliente, hasta disfrutando de él y con él, pero también ese que se entrega de forma tan voluntaria y con la misma vocación que, por ejemplo, limpiar retretes durante ocho horas al día, seis días a la semana. As such, Zola was the leading figure of French naturalism. He wrote a cycle of twenty novels under the rubric of Les Rougon-Macquart, concerning the two branches of a family, the Rougons and the Macquarts. Zola traced the “natural and social history” of this family through a number of generations, laying emphasis upon their behavior as influenced by heredity and environment. Some of the best known of these novels are L’Assommoir (1877), Nana (1880), and Germinal(1885). Zola’s essay The Experimental Novel (1880) attempted a justification of his own novelistic practice, and became the seminal manifesto of naturalism. Blame her if you dare for the life she chose. Blame her if you dare for the lovers she humiliated. Blame her if you dare for the money she wanted and the pain she caused. If she grew up today, she would be a victim from the beginning, entitled to support and pity. In 19th century Paris, she had nothing but what she managed to grab for herself. Cold and manipulative? Yes! But how could she be otherwise, growing up as a child in the abusive home of Gervaise and Coupeau? She had no education to speak of, no social standing, no caring and loving childhood memories, no role models except for the hypocritical Paris society she saw - which was ruled by the sexual desires of men. She never had a chance to enter the official world, and had to provide for herself.

Possible answer:

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] Me explico: Naná es la historia de Naná, una actriz de teatro que además es muy bella y atractiva, y quien de alguna manera se verá involucrada con personajes de la alta sociedad, de una forma que, como todo Zola, no terminará bien. El retrato que crea el autor de la sociedad de la época, las apariciones de Naná con el equipo de actores en el teatro —de hecho el primer capítulo, que inicia con una obra en tres actos, y que además nos introduce a cada uno de los personajes principales, es de los mejores de toda la novela—, y los amoríos que van surgiendo a lo largo de toda la historia, son dignos de admirar, escritos con una belleza y una profundidad como solo Zola sabe hacerlo. Perhaps that is what made me feel so uncomfortable; -is how readily Zola's characters responded to this animal aspect. I think it was a clever device by Zola to add to the reader's disgust. Perhaps his aim was to induce a feeling of shame in his contemporaries?