‘Les objets plus ou moins déformés’: Émile Zola’s Screen Theory of Representation and the Rougon-Macquart Cycle

IF 0.2 4区 文学 0 LITERATURE, ROMANCE Nottingham French Studies Pub Date : 2023-03-01 DOI:10.3366/nfs.2023.0368
Eddy Troy
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Abstract

This article argues for renewed attention to Émile Zola's notion of the ‘Écran transparent’ in light of calls to read the novelist's Rougon-Macquart cycle as proto-modernist. It claims that in his 8 August 1864 letter to Antony Valabrègue, Zola lays the theoretical foundations for a departure from verisimilitude, advancing instead a mode of perception that frequently generates deformed objects – objects engendered by a ‘surréalisme particulier’ (Gilles Deleuze). The article re-reads the ‘prospective qualities’ (Susan Harrow) of Germinal, Au Bonheur des Dames and La Curée to explicate the deformative logics of the Zola's Screen.
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“或多或少扭曲的物体”:埃米尔·左拉的表现屏幕理论和鲁贡·麦克夸特循环
这篇文章主张重新关注埃米尔·左拉的“Écran transparent”概念,因为人们呼吁将这位小说家的鲁贡·麦克夸特周期解读为原现代主义。它声称,在1864年8月8日写给安东尼·瓦abrègue的信中,左拉为偏离逼真性奠定了理论基础,转而提出了一种经常产生变形物体的感知模式 – 由“特殊代理人”(Gilles Deleuze)产生的物体。本文重读了《萌芽》、《大坝》和《居里夫人》的“前瞻性”(苏珊·哈罗),阐释了左拉《屏风》的变形逻辑。
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来源期刊
Nottingham French Studies
Nottingham French Studies LITERATURE, ROMANCE-
CiteScore
0.20
自引率
0.00%
发文量
20
期刊介绍: Nottingham French Studies is an externally-refereed academic journal which, from Volume 43, 2004, appears three times annually, with at least one special and one general issue each year. Its Editorial Board is drawn from members of the Department of French and Francophone Studies of the University of Nottingham, with the support of an International Advisory Board.
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