Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

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Emile Zola é conhecido por sua carreira como romancista, mas sua iniciação como escritor deu-se também como crítico de arte entre as décadas de 1860 a 1896, anos nos quais o escritor frequentou os ateliês de célebres pintores, cafés e os Salões. A partir da análise dos artigos de jornal presente na compilação Escritos sobre a arte, o trabalho tem por objetivo mostrar como a relação com os pintores impressionistas leva Zola a utilizar os procedimentos picturais desse movimento para descrever os quadros expostos nos Salões de 1866 a 1880. Na primeira parte do trabalho, será apresentado um panorama dos Salões e a gênese desse gênero novo por Denis Diderot, as questões levantadas por Charles Baudelaire em seus escritos sobre a arte e a influência de ambas as críticas para a construção do método de análise de Zola. A segunda parte do trabalho visa apresentar as questões levantadas pelo crítico no que diz respeito à escolha do júri que selecionava as obras, o momento artístico e sua teoria estética. A questão principal deste trabalho será discutida detalhadamente na terceira parte deste trabalho, em que o objetivo principal será identificar os procedimentos pictóricos impressionistas nas análises de Zola e os desdobramentos dessas técnicas na produção da sua crítica de arte. / Émile Zola is known for his novelist career, but his initiation happened as an art critic between the years 1860 and 1896, in which he attended renowned painters\' studios, cafés and the Salons. Starting from the analysis on newspapers articles, found in the compilation Writings on Art, this dissertation intends to show how Zolas relation with Impressionist painters made him use this movement\'s pictorial proceedings in order to analyze the pictures exposed in 1866 and 1880 Salons and create narratives from such descriptions. In the first part, an overview about these Salons shall be introduced, as well as this new genre\'s genesis by Denis Diderot, the matters discussed by Charles Baudelaire in his writings on art, and the weight of both these critical modes to Zola\'s own analysis method. The second part aims to introduce the issues he raised concerning the choosing of the jury responsible for selecting works, the artistic moment, and his aesthetic theory. This researchs main point shall be discussed minutely in the third part, whose main goal is to identify the Impressionists pictorial procedures in Zolas analysis and this techniques deployment in his making of critics on art.

Emile Zola é conhecido por sua carreira como romancista, mas sua iniciação como escritor deu-se também como crítico de arte entre as décadas de 1860 a 1896, anos nos quais o escritor frequentou os ateliês de célebres pintores, cafés e os Salões. A partir da análise dos artigos de jornal presente na compilação Escritos sobre a arte, o trabalho tem por objetivo mostrar como a relação com os pintores impressionistas leva Zola a utilizar os procedimentos picturais desse movimento para descrever os quadros expostos nos Salões de 1866 a 1880. Na primeira parte do trabalho, será apresentado um panorama dos Salões e a gênese desse gênero novo por Denis Diderot, as questões levantadas por Charles Baudelaire em seus escritos sobre a arte e a influência de ambas as críticas para a construção do método de análise de Zola. A segunda parte do trabalho visa apresentar as questões levantadas pelo crítico no que diz respeito à escolha do júri que selecionava as obras, o momento artístico e sua teoria estética. A questão principal deste trabalho será discutida detalhadamente na terceira parte deste trabalho, em que o objetivo principal será identificar os procedimentos pictóricos impressionistas nas análises de Zola e os desdobramentos dessas técnicas na produção da sua crítica de arte. / Émile Zola is known for his novelist career, but his initiation happened as an art critic between the years 1860 and 1896, in which he attended renowned painters\' studios, cafés and the Salons. Starting from the analysis on newspapers articles, found in the compilation Writings on Art, this dissertation intends to show how Zolas relation with Impressionist painters made him use this movement\'s pictorial proceedings in order to analyze the pictures exposed in 1866 and 1880 Salons and create narratives from such descriptions. In the first part, an overview about these Salons shall be introduced, as well as this new genre\'s genesis by Denis Diderot, the matters discussed by Charles Baudelaire in his writings on art, and the weight of both these critical modes to Zola\'s own analysis method. The second part aims to introduce the issues he raised concerning the choosing of the jury responsible for selecting works, the artistic moment, and his aesthetic theory. This researchs main point shall be discussed minutely in the third part, whose main goal is to identify the Impressionists pictorial procedures in Zolas analysis and this techniques deployment in his making of critics on art.

Abstract The current study discusses Jean-Jacques Rousseau’s (1712–1778) educational thinking. The main object of interpretation is his most important educational work Émile, Or on Education (Émile ou De l’éducation, 1762). The study leans on the argument that Rousseau should be read as a representative of the modern tradition of Bildung, or that he should even be considered the first representative of this tradition. The interpretation presented in this study thus diverges from the way typical of the Anglo-American educational tradition in particular to read Rousseau through a naturalist lens. The first two chapters of the study take the steps that are necessary to understand Émile’s concept of education. Émile is an attempt to solve the core problem of modern society and its subject set by Rousseau in his first two Discourses, namely that of alienation. The latter of them, Discourse on the Origin and Foundations of Inequality among Men (Discours sur l’origine et les fondements de 1’inégalite parmi les hommes, 1755), presents in more elaborated terms than the former one the first modern alienation theory of major influence. Its hypothetic history of civilisation portrays the history of mankind in terms of increased alienation, the end point of which anticipates a final and complete loss of human freedom. So, Rousseau is not just diagnosing, he is also predicting where the history of mankind is leading to. The foundational motivation for Émile can be understood against this background. As an alternative to the kind of history described by him in the Discourses, it searches for a history built on human freedom. Changing the direction of the course of history is determined as an educational task. Rousseau calls the focus of this alternative history “the general moral order”, meaning by this the opposite of the bourgeois social order that is functioning precisely with egocentrism as its attitudinal core. This does not mean, however, that Rousseau is outlining a modern project to reject bourgeois society in Émile. He is rather trying to show that the juxtaposition of freedom and alienation results in an irrevocable internal conflict that defines modern subjectivity and its existence. Man is, so to say, free and not free at the same time. As the conflict is defined to be irrevocable, education also cannot solve it. Education can only point this out to the educatee, thus helping the educatee to determine his or her own place in the world as autonomously as possible. / Tiivistelmä Tutkimuksessa tarkastellaan Jean-Jacques Rousseaun (1712–1778) kasvatusajattelua. Ensisijaisena tulkinnan kohteena on hänen pedagoginen pääteoksensa Émile eli kasvatuksesta (Émile ou De l’éducation, 1762). Tutkimusta kannatteleva väite on, että Rousseauta tulee lukea modernin sivistysperinteen edustajana, ellei jopa ymmärtää hänet tämän perinteen ensimmäiseksi edustajaksi. Tutkimuksessa esitetty tulkinta erkaantuu siten varsinkin angloamerikkalaiselle kasvatustieteelliselle perinteelle tyypillisestä tavasta lukea Rousseauta naturalistisen linssin läpi. Tutkielman kahdessa ensimmäistä luvussa otetaan ne välttämättömät askeleet, jotka Émilen kasvatuskäsitteen ymmärtäminen edellyttää. Émile on yritys ratkaista Rousseaun kahdessa ensimmäisessä Diskurssissaan asettama modernin yhteiskunnan ja sen subjektin ydinongelma, vieraantumisen ongelma. Diskursseista jälkimmäinen, Tutkielma ihmisten välisen eriarvoisuuden alkuperästä ja perusteista (Discours sur l’origine et les fondements de 1’inégalite parmi les hommes, 1755), esittelee ensimmäistä kehittyneemmin ensimmäisen vaikutusvaltaisen modernin vieraantumisteorian. Sen hypoteettinen sivilisaatiohistoria kuvaa ihmiskunnan historian kasvavana vieraantumisena, jonka päätepiste ennakoi lopullista ja täydellistä inhimillisen vapauden menetystä. Rousseau ei siis vain diagnosoi, vaan esittää lisäksi ennusteen siitä, mihin ihmiskunnan historia tulee johtamaan. Émilen perustava motiivi voidaan ymmärtää tätä taustaa vasten. Siinä etsitään Diskursseissa kuvatulle historialle vaihtoehtoista inhimillisen vapauden varaan rakentuvaa historiaa. Historian kulun suunnan muuttaminen määritellään pedagogiseksi tehtäväksi. Rousseau nimeää tämän vaihtoehtoisen historian kiintopisteen "yleiseksi moraaliseksi järjestykseksi", tarkoittaen tällä täsmällisesti egosentrismi asenteellisena ytimenään toimivan porvarillisen yhteiskunnallisen järjestyksen vastakohtaa. Tämä ei kuitenkaan tarkoita, että Rousseau luonnostelisi Émilessä modernia, porvarillista yhteiskuntaa hylkäävää projektia. Hän pyrkii pikemminkin osoittamaan, että vapauden ja vieraantumisen vastakkainasettelusta seuraa modernia subjektiviteettia ja sen eksistenssiä määrittävä peruuttamaton sisäinen konflikti. Ihminen on niin sanotusti yhtä aikaa vapaa ja ei-vapaa. Koska konflikti määritellään peruuttamattomaksi, ei myöskään kasvatus pysty sitä ratkaisemaan. Kasvatus voi tämän vain kasvatettavalle osoittaa ja auttaa täten kasvatettavaa määrittelemään oma paikkansa maailmassa mahdollisimman autonomisesti.

Considéré par la plupart de la critique comme une littérature putride (cf. ULBACH, 1868) ou ignominieuse (cf. VERISSIMO, 1894), accusé de confondre naïvement la science et la littérature, ainsi que de rendre le langage littéraire scientifique, et surtout au Brésil, en outre, remis en question en tant que plagiat ou importation dune mode étrangère, le naturalisme a été relégué aux marges de lhistoriographie littéraire. Prenant comme point de départ ce panorama critique, la thèse propose une réévaluation critique et historiographique de lesthétique naturaliste, commençant par décrire et analyser son origine au cours de lhistoire à partir de la constitution du réalisme moderne dans les oeuvres de Stendhal et de Balzac (cf. AUERBACH, 2004). On se concentre notamment sur la lente affirmation des termes réalisme et naturalisme et sur limportance de la contribution de différents romanciers français au processus de consolidation de lesthétique réaliste et de son prolongement dans le naturalisme. On discute également le projet esthétique proposé par Zola, de même quon déconstruit des mythes corroborés par lhistoriographie littéraire à propos de la théorie et du mouvement naturalistes. Enfin, en établissant les rapports entre lidéologie esthétique naturaliste et lidéal républicain, on discute lacclimatation des principes esthétiques naturalistes au Brésil, dans loeuvre de celui qui a été son principal représentant, Aluísio Azevedo. A partir dune étude comparative entre le naturalisme en France et au Brésil, on cherche, en effet, à contribuer au processus de révision critique et historiographique dune période littéraire énormément productive dans les deux pays, malgré la tendance à sa dévalorisation généralement observée dans les manifestations de la critique du XXe siècle / Considerado pela maioria da crítica como uma literatura pútrida (cf. ULBACH, 1868) ou torpe (cf. VERÍSSIMO, 1894), acusado de confundir ingenuamente ciência e literatura, bem como de cientizar a linguagem literária, e em particular no Brasil, além disso, questionado por plágio ou importação de uma moda estrangeira, o naturalismo foi relegado às margens da historiografia literária. Assumindo como ponto de partida esse panorama crítico, a tese propõe uma reavaliação crítica e historiográfica da estética naturalista, começando por descrever e analisar sua origem no decurso da história, a partir do advento do realismo moderno nas obras de Stendhal e de Balzac (cf. AUERBACH, 2004). Enfoca a lenta afirmação dos termos realismo e naturalismo, bem como a importância da contribuição de diferentes romancistas franceses no processo de consolidação da estética realista e de seu prolongamento no naturalismo. Discute-se também o projeto estético proposto por Zola, assim como se desconstroem mitos corroborados pela historiografia literária a respeito da teoria e do movimento naturalistas. Por fim, correlacionando a estética naturalista com o ideal republicano, aborda-se a aclimatação dos princípios naturalistas no Brasil, na obra daquele que foi seu principal representante, Aluísio Azevedo. A partir de uma abordagem comparativa entre o naturalismo na França e no Brasil, busca-se, em síntese, contribuir para o processo de revisão crítica e historiográfica de um período literário muito produtivo nos dois países, não obstante a tendência para sua desvalorização em geral observada nas manifestações da crítica novecentista

This dissertation examines the role of women in four of Émile Zola's novels, in particular their privileged position as the conduits through which he exerted his "experimental" literary method. Zola has long been recognized as subjecting his female characters to extreme violence, but scholars have not yet thoroughly explored how the ways in which he represents this violence provide insight into the nature of his narrative practice. For Zola, literary fiction offers access to a scientific truth, and the female body and its capacity for procreation is the source material for his investigation. By subjecting his female characters to analysis and ultimately dissection, Zola violently exploits the creative potential of their bodies and builds a literary empire upon them. In La Curée, Zola presents one of his first experimental heroines, a bored and pampered wife whose identity is constructed through reflections and refractions via a series of mirrors, both visually and narratively. This multiplicity of interferences effaces the female voice and subjectivity while exploiting the visual appeal of the female body. Nana offers a counterpoint on the same theme, featuring a woman who, through the desirability of her body, reverses the paradigm and exerts control over those around her with masterful manipulation of optics and language. Nana's body inscrutably defies analysis and playfully disrupts gender constructs by assuming contradictory sexual characteristics that are only indirectly observable. Zola shifts his narrative focus from the women themselves to the broader notion of sexual difference in La Bête humaine, in which the female body signifies the difference that drives male desire and destabilizes civilized society. The representability of sex becomes increasingly problematic as female speech, filtered through the body, puts the reliability of language into question. The problematics of the legible body that Zola develops in these texts can be traced all the way back to Thérèse Raquin, in which he conducts a literary investigation into the relationship between bodies and texts. This short novel, Zola's first of the genre, is particularly interested in the different (pro)creative capacities of male and female bodies and the representational possibilities inherent in them.