MONSTERS AND MONSTROUS IN EMILE ZOLA’S WORK
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Auteurs : Arnaud Verret [France]Source :
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Abstract
Naturalism claiming to include all aspects of life, Zola’s work can be treated from the angle of the monster as outstanding being or of the monstrous as applicable concept to each nuance of physiology, temperament, behavior or sensitivity. Monster’s presence in author’s work is competed with his more general use of the monstrous, allowing him to reconcile a poetic of the ordinary and an extraordinary narrative object to say all the complexity of existence. If the monster first means distorted biological being, the influence of environment and heredity determines its appearance: confronted with monstrous natural kingdoms, man is threatened to succumb or metamorphose in his turn; abnormalities are passed from parents to descendants, but also affect anyone at any age. So Zola’s work highlights the confessions of the body, but already expresses a change of look on the unfortunates whose physical defects are showed and on their improvised judges. Then, in a moral reading, almost all of the characters may be others’ monster, as this is a concept which reveals anxieties and mistrusts inherent in human relationships, unless are targeted pernicious mechanisms such as those of stupidity or hypocrisy in order to prove that isn’t always the monster that is believed; Zola’s mythology whose monsters and monstrous occupy a central role allows, in this capacity, to resume ancestral themes and adapt them to the contemporary world. Appropriated by the writer, the monstrous becomes a veritable aesthetic subject. The biggest monster in the eyes of the one who hardly writes is ultimately the work of art itself which must be mastered with a patient labor: the work is problematic, too demanding, and the monstrous describes what is dismissed in it as the ugly, the obscene, the false. Zola was himself victim, through his texts or in his own person deformed by parodies, caricatures or ad hominem attacks.
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Monster’s presence in author’s work is competed with his more general use of the monstrous, allowing him to reconcile a poetic of the ordinary and an extraordinary narrative object to say all the complexity of existence. If the monster first means distorted biological being, the influence of environment and heredity determines its appearance: confronted with monstrous natural kingdoms, man is threatened to succumb or metamorphose in his turn; abnormalities are passed from parents to descendants, but also affect anyone at any age. So Zola’s work highlights the confessions of the body, but already expresses a change of look on the unfortunates whose physical defects are showed and on their improvised judges. Then, in a moral reading, almost all of the characters may be others’ monster, as this is a concept which reveals anxieties and mistrusts inherent in human relationships, unless are targeted pernicious mechanisms such as those of stupidity or hypocrisy in order to prove that isn’t always the monster that is believed; Zola’s mythology whose monsters and monstrous occupy a central role allows, in this capacity, to resume ancestral themes and adapt them to the contemporary world. Appropriated by the writer, the monstrous becomes a veritable aesthetic subject. The biggest monster in the eyes of the one who hardly writes is ultimately the work of art itself which must be mastered with a patient labor: the work is problematic, too demanding, and the monstrous describes what is dismissed in it as the ugly, the obscene, the false. Zola was himself victim, through his texts or in his own person deformed by parodies, caricatures or ad hominem attacks. </div></front></TEI><affiliations><list><country><li>France</li></country></list><tree><country name="France"><noRegion><name sortKey="Verret, Arnaud" sort="Verret, Arnaud" uniqKey="Verret A" first="Arnaud" last="Verret">Arnaud Verret</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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