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. Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference 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. Barnes, Julian (15 April 2011). "Edouard Manet: Symphony in off-white". The Guardian . Retrieved 26 February 2016. Estelle The priggish daughter of the Muffats, who has a large dowry and who later marries Nana's earlier lover, Daguenet.

The novel was an immediate success. Le Voltaire, the French newspaper that was planning to publish it in installments beginning in October 1879, launched a gigantic advertising campaign, raising the curiosity of the reading public to a fever pitch. When Charpentier finally published Nana in book form in February 1880, the first edition of 55,000 copies was sold out in one day. Flaubert and Edmond de Goncourt were full of praise for Nana. On the other hand, a part of the public and some critics reacted to the book with outrage, which may have contributed to its popularity. Meglepő módon nekem tetszett. Nagyon lassan indult, nyűglődtem az elején rendesen, de aztán végül beszippantott a romlott párizsi világ…. 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.a b c d e Marzials, Frank Thomas (1911). "Zola, Émile Édouard Charles Antoine". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol.28 (11thed.). Cambridge University Press. p.1001. 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. Nana; first trans. by Douglas Parmee in 1992. Oxford World's Classics. ISBN 978-0-19-283670-0 (re-issue 1999) Lukács, György (1950). Studies in European Realism: A Sociological Survey of the Writings of Balzac, Stendhal, Zola, Tolstoy, Gorki and Others. Translated by Bonee, Edith. Foreword by Roy Pascal. London: Hillway Publishing. OCLC 2463154. a b Johnson, Ken (23 May 2002). "Niki de Saint Phalle, Sculptor, Is Dead at 71". New York Times . Retrieved 27 February 2016.

Cummins, Anthony (5 December 2015). "How Émile Zola made novels out of gutter voices and ultra-violence". The Daily Telegraph. London . 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 poet is the artist in words whose writing, as in the racecourse scene in Nana or in the descriptions of the laundry in L'Assommoir or in many passages of La Faute de l'Abbé Mouret, Le Ventre de Paris and La Curée, vies with the colourful impressionistic techniques of Claude Monet and Pierre-Auguste Renoir. The scientist is a believer in some measure of scientific determinism – not that this, despite his own words "devoid of free will" (" dépourvus de libre arbitre"), [55] need always amount to a philosophical denial of free will. The creator of " la littérature putride", a term of abuse invented by an early critic of Thérèse Raquin (a novel which predates Les Rougon-Macquart series), emphasizes the squalid aspects of the human environment and upon the seamy side of human nature. [56] Vizetelly, Ernest Alfred (1904). "Émile Zola, Novelist and Reformer: An Account of His Life & Work". Charles Antoine Zola ( / ˈ z oʊ l ə/, [1] [2] also US: / z oʊ ˈ l ɑː/, [3] [4] French: [emil zɔla]; 2 April 1840–29 September 1902) [5] was a French novelist, journalist, playwright, the best-known practitioner of the literary school of naturalism, and an important contributor to the development of theatrical naturalism. [6] He was a major figure in the political liberalization of France and in the exoneration of the falsely accused and convicted army officer Alfred Dreyfus, which is encapsulated in his renowned newspaper opinion headlined J'Accuse…! Zola was nominated for the first and second Nobel Prize in Literature in 1901 and 1902. [7] [8] Early life [ edit ]

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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] 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." Nana egészen különleges antihős, akin csak ámultam, miközben szántam és megvetettem, néha mégis volt pillanat, amikor majdnem engem is az ujjai közé csavart…

Dreyfus applied for a retrial, but the government countered by offering Dreyfus a pardon (rather than exoneration), which would allow him to go free, provided that he admit to being guilty. Although he was clearly not guilty, he chose to accept the pardon. Later the same month, despite Zola's condemnation, an amnesty bill was passed, covering "all criminal acts or misdemeanours related to the Dreyfus affair or that have been included in a prosecution for one of these acts", indemnifying Zola and Picquart, but also all those who had concocted evidence against Dreyfus. Dreyfus was finally completely exonerated by the Supreme Court in 1906. [32] Watt, Peter (21 September 2017). "Zola's bicycle women" (blog). The Great Wen . Retrieved 13 February 2023. Zola". The American Heritage Dictionary of the English Language (5thed.). HarperCollins . Retrieved 22 August 2019. In 1862 Zola was naturalized as a French citizen. [13] In 1865, he met Éléonore-Alexandrine Meley, who called herself Gabrielle, a seamstress, who became his mistress. [11] They married on 31 May 1870. [14] Together they cared for Zola's mother. [12] She stayed with him all his life and was instrumental in promoting his work. The marriage remained childless. Alexandrine Zola had a child before she met Zola that she had given up, because she was unable to take care of it. When she confessed this to Zola after their marriage, they went looking for the girl, but she had died a short time after birth. Rose Mignon The leading actress for the Variety Theater who sleeps with many of the same people as does Nana but is never as successful.Countess Sabine de Beuville Count Muffat's wife, who was the pillar of respectability until after her husband began having an affair with Nana. She then has an affair with young Monsieur Daguenet, who was Nana's earlier lover. 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).

Nana's failure as a grand lady on the stage is countered by her complete success as a lady of fashion off the stage: "And the marvel was that this great creature, so awkward on the stage, so absurd in the role of a virtuous woman, was able to assume the role of an enchantress without effort." Thus, the fact that the entire society now knows Nana and a large segment of that society emulates Nana's dress, her hats, and her actions indicates the level to which it has been corrupted by Nana. 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.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. More than half of Zola's novels were part of the twenty-volume Les Rougon-Macquart cycle, which details the history of a single family under the reign of Napoléon III. Unlike Balzac, who in the midst of his literary career resynthesized his work into La Comédie Humaine, Zola from the start, at the age of 28, had thought of the complete layout of the series. [ citation needed] Set in France's Second Empire, in the context of Baron Haussmann's changing Paris, the series traces the environmental and hereditary influences of violence, alcohol, and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of the family—the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts—over five generations. Nana, a Variétés Színház ünnepelt dívája, a buja szőke Vénusz, akinek lábai előtt ott hever egész Párizs. Fiatalok és vének, arisztokraták és polgárok, gazdagok és szegények, nősek és nőtlenek. És Nana ádáz kéjjel és dühvel tapod rajtuk. Mohón habzsolja és herdálja az életet, keze között hatalmas vagyonok olvadnak el, hószín combjai szorításában férfiak tucatjai vergődnek és zúzódnak halálra. Az olcsó utcalányból lett luxusprostituált tündöklése és bukása egybeesik a második császárság végnapjaival, a porosz–francia háború kitörésével. Anonym. "Church opponent of Italian descent .. Emile Zola is a writer of France and pioneer of the printing school | tellerreport.com". www.tellerreport.com . Retrieved 9 November 2020. Na és Nana…..tipikus negatív hős, aki mindent megrohaszt,eltör, tönkretesz.. legyen az élet, vagy tárgy, Nana hatására minden elromlik…. Viszont úgy tudom, hogy Zolának ez nem önálló könyve, hanem a Rougon-Macquart család regényciklusának 9. darabja. A sorban Nana előtt van még 8 kötet, amiket még nem ismerek, emiatt nem húznám le Nana karakterét. Az biztos, hogy barátnőmnek nem választanám, mert túl egoista.