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The author approaches the study of L'assommoir from a spatial point of view, but, rather than considering the actual spaces, their organization, their connection to the story and the narrative structure, he explores the areas demarcating the movement of the characters, most specifically the borders, the thresholds and the barriers that they attempt to pass through and that they fail to pass through. By closely following Gervaise's itinerary, this work shows that before the scientific studies of Tarde, of Van Gennep, and others, Zola had succeeded in grasping the concept of these works, specifically the occupation of public and private spaces, the rules that govern daily life, and the relationships between the classes and the individuals.
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À sa publication, La Joie de vivre d'Émile Zola fut reçue comme un roman à thèse réfutant les théories d'Arthur Schopenhauer. C'était là l'intention avouée du romancier. Or, nombreux sont les critiques à avoir soulevé la dimension puissamment pessimiste de l'oeuvre, invoquant surtout le personnage fortement autobiographique de Lazare et une genèse textuelle problématique. Zola accordait une grande importance à la documentation qu'il préparait en vue de rédiger ses romans. Notre objectif premier est donc celui d'examiner la façon qu'a eu le romancier d'écrire la philosophie qu'il a lue. À cette fin, nous nous penchons sur le Dossier préparatoire de La Joie de vivre et y suivons les stades successifs du personnage schopenhauerien; nous étudions également la version publiée du roman, mais de façon ciblée: …
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Economics often overlooks the impact of feelings, emotions, and dependence within human relationships. However, in Zola's La curée, Aristide Saccard's speculations make good use of his wife Renée's feelings for her stepson, Maxime Saccard. At the heart of this novel, monetary flow and matrimonial circulation underline the extent to which capitalism in motion pays little heed to symbolic prohibitions. By letting his wife enjoy the present and her incestuous love, Aristide grants himself the power to enjoy the future by increasing his capital. La curée gives us to read a very private speculation, one in which the representation of women is associated with money, insofar as they are an object of exchange with economic value. This article grasps, in this novel, the modalities of an economy of enjoyment articulated around a corrupt system of kinship and legality which is not afraid of absorbing any type of exchange (bodies, inalienable goods, forbidden desire), as well as the modalities of a women's mobility not reduced to the circulation in fashionable society.