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F.W.J.
Hemmings, preface to the second edition of Emile Zola
(Oxford: Clarendon Press, |
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1966),
page unnumbered. |
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| 2
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The
term 'modernity' refers here to the process of social
modernisation described; the |
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term
'modernism' refers to the cultural explosion across the
western world at the start of |
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the
twentieth century which, amongst other things, brings
into question the assumptions |
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of
nineteenth-century realist and naturalist fiction (its
most famous novelists include |
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Joyce,
Woolf and, in France, Proust). |
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| 3
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At
the front of the recommended edition of Le Docteur Pascal
you will find a copy of the |
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'arbre
généalogique' which appeared in 1893. |
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| 4
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So
named because of Zola's house at Médan to the south-west
of Paris, built with the |
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rewards
from L'Assommoir, where M. et Mme Zola would entertain
Emile's literary and |
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artistic
friends |
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| 5
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Mimesis
denotes the process of imitation by which art reflects
life. The classic analysis |
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of
mimesis in nineteenth-century fiction can be found in
Erich Auerbach, Mimesis |
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(Princeton
University Press,1953) ISBN 0691012695 [809.912 AUE]. |
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| 6
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For an argument which absorbs such theoretical suspicion
of literary illusion into a re- |
BACK
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evaluation
of nineteenth-century realism, see Christopher Prendergast,
The Order of |
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Mimesis
(Cambridge University Press, 1986) ISBN 0521237890 [847.3
PRE] |
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| 7- |
Author
of Le Rouge et le Noir (1830) and La Chartreuse de Parme
(1839) [847 STE]. |
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| 8- |
The author of Madame Bovary (1857) and L'Education sentimentale
(1869) [both 847 FLA] |
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is
associated with Joyce and Beckett, for example, in Hugh
Kenner's Stoic Comedians |
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(Berkeley:
University of California Press, 1974) 0520025849 [809
KEN], not least because |
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of
their shared sense of the futility of the desire for self-expression
which they |
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nevertheless
cannot renounce. Whereas Zola dreams of 'tout dire', of
including all facets |
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of
modern life into his fresco, Flaubert inverts that grand
referential gesture in his counter- |
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fantasy
of 'un livre sur rien', a book of pure style which would
indulge no illusions about |
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the
banality of life's subject matter. |
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| 9- |
On
a scrap of paper Zola scribbled a list of 'Différences
entre Balzac et moi' in a crisis of |
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literary
identification. |
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| 10- |
Hippolyte
Taine, Essais de critique et d'histoire (Paris, 1920),
p. xxviii. |
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