It is my purpose in this thesis to show any influence that Emile Zola's Naturalism had on the novels of Blasco Ibáñez.. Because the novels of the Spanish author contain many suggestions of the Zolaesque theory of Naturalism, many literary critics have assumed that he did obtain much of his inspiration from this source; they have even called him the "Spanish Zola." I shall try to determine how much he imitated Zola's Naturalism, and to show to what extent it is correct to call him the "Spanish Zola."

Subject to this degree work is the character of prostitutes in French society in the 19th century reflected in eight selected works of French authors of the time. In the first part of my thesis the history of prostitution from "religious prostitution" in ancient Greece to its "golden age" in France in the 19th century is described. The decay of moral principles in the post-Revolutionary period (as a result of religious and social taboos collapse) causes a great spread of prostitution and venereal diseases. Because of these reasons it was necessary to take the legalizing and organizing precautions - the French System. The second part of this work takes addresses the different (romantic and naturalistic) representations of the character of the prostitute in the literature of the 19th century. The representative of the romantic interpretation of the courtesan who is driven to sin due to poverty (the myth of the "fallen angel" redeemed by pure love) is Honoré de Balzac and his novel "The Splendors and Miseries of Courtesans". The opposite pole to the romantic interpretation of prostitutes is a naturalistic beast which chooses the oldest profession herself as a means of executing social revenge. In this second, analytical, part of this work the comparison of both of these kinds is made. Key words:...

Le but de ce travail de recherche est d’étudier la pensée politique et juridique de Zola dans Son Excellence Eugène Rougon et de comprendre dans quelle mesure l’auteur peut être considéré comme un historien du droit. Ce sixième roman du cycle Les Rougon Macquart, ne semble guère avoir été étudié que d’un point de vue littéraire ou purement historique. Or, en ouvrant pour la première fois ce roman, le juriste est surpris d’entendre l’écrivain lui parler si bien des notions et des institutions qu’il connait. Il s’aperçoit alors que la littérature naturaliste de l’écrivain fait revivre avec une grande perspicacité le Second Empire, époque fondamentale dans l’histoire des institutions, du droit administratif et des libertés publiques. Le romancier reconstitue ainsi sous ses yeux deux procès devant le Conseil d’Etat, au moment même où le recours pour excès de pouvoir est en pleine expansion et la théorie du « ministre-juge », en déclin. De même, près de trente ans avant les travaux de Moisei Ostrogorski, la« bande » de Rougon apparait, comme un « parti politique » avant la lettre et permet à Zola - au fil de ses descriptions - de montrer ses fines qualités d’analyste politique. Quant aux libertés publiques (la liberté de la presse notamment), elles n’échapperont pas à la critique acerbe d’un écrivain républicain. Ces critiques - qui ont longtemps laissé penser que Zola était l’auteur privilégié de la « légende noire du Second Empire » - sont en réalité, bien plus subtiles qu’il n’y parait. La clairvoyance de l’homme de Lettres permet ainsi plus que jamais d’éclairer l’homme de Droit désireux de comprendre son propre univers. / The purpose of this research work is to study the political and legal thought of Zola in Son Excellence Eugène Rougon and to understand to what extent the author can be considered as a historian of law.This sixth novel of the cycle Les Rougon Macquart, hardly seems to have been studied that from a literary or purely historic point of view. Yet, by opening for the first time this novel, the jurist is surprised hearing the writer to speak to him so well notions and institutions which he knows. He notices while the naturalistic literature of the writer makes relive with a big perspicacity the Second Empire, fundamental time in the history of institutions, administrative law and public liberties.The novelist so reconstitutes under the eyes two trials in front of the Council of State, at the very moment when the « recours pour excès de pouvoir » is growing and the « ministre juge » theory, in decline. Also, about thirty years before the works of Moisei Ostrogorski, the Rougon’s« bande » appears, as a « political party » before the term existed and allows Zola - in the course of its descriptions - to show its fine qualities of political analyst.As for the public liberties (the freedom of the media in particular), they will not escape the acerbic criticism of a republican writer.These criticisms - which let for a long time think that Zola was the privileged author of the « légende noire du Second Empire » - are in reality, more subtle than it countered there.The clear-sightedness of the man of letters allows so more than ever to light the man of right avid to understand its own univers.

My interdisciplinary dissertation, Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France, studies the notion of écriture artiste as an ideologically charged aesthetic doctrine that provides a better understanding of the rapports between art and the socio-historical context of mid nineteenth-century France. Specifically, using a case study approach, I examined four encounters between writers and painters, including Gustave Flaubert, Gustave Moreau, the Goncourt brothers, Eugène Delacroix, Émile Zola, Édouard Manet, J.-K. Huysmans and Odilon Redon. I analyzed how these pairings, each illustrative of a different facet of écriture artiste, highlight extratextual realities of the time through aesthetic embellishments. Findings show that some of these artists refashion the existing hierarchy of academically legislated rules on style by purposefully obscuring legibility in order to valorize artistic productions as alternatives to, not copies of, nature. Moreover, they reshape cultural views by staging the coexistence of lyrical and positivist elements, thus encouraging an array of subjective interpretations. I conclude that écriture artiste provides a valid framework for analyzing a self-conscious type of art that uses symbolic power to shape public taste. In turn this provides alternatives to a monolithic model upheld by legitimate culture. The central contribution of my project is its analysis of écriture artiste as a concept that does not fit neatly specific categories of genre or literary movements. My work intervenes in extant debates on literature and the visual arts in the latter half of the nineteenth century by challenging the critical tradition that considers écriture artiste as a pedantic descriptive style. My dissertation broadens the scope of écriture artiste beyond the work of the Goncourt brothers. This expansion of the field also reveals that this type of art theory is developed with an acute consciousness about the power of art and the artist to reach a changing readership, prompted by the shifting ideological climate of the time.

This thesis argues for the cultural space of late nineteenth-century Parisian shopgirls as a position of power. The shopgirls' role in society is an ambiguous position connecting fashion consumer culture, class divides, gender and identity perceptions, and the workspace. Using James Tissot's Femme à Paris series, specifically the image Demoiselles de Magasin, and Emile Zola's novel Au Bonheur des Dames as primary sources, I examine the role of the shopgirl as a liminal position within the definition of the iconic 'La Parisienne' woman. By looking at women's work and the role of shopgirls in the boutique and department store world of fashion and consumerism, we can see how shopgirls' unique position gives historical significance to this kind of work. By looking at painting and literature as primary media, we can see how pervasive the shopgirl and La Parisienne imagery really at this time. Using a feminist approach, this thesis shows how the shopgirl occupies a particular social space for women in nineteenth-century France, perhaps even a somewhat influential position in Parisian culture, as she is a primary facilitator in the fashion world for transmitting 'taste'— a marketable branding tool of French fashion that permeates the iconic ideals of French fashion.

Theodore Stanton’s career as a literary middleman exemplifies several of the intermediary professions in book and periodical publishing that were being created and tested in the late nineteenth century in response to expanded publishing opportunities in France, Great Britain, the United States, and Canada. The need for professional middlemen between writers and publishers developed differently in each country, thus their roles and activities, the literary agent’s in particular, varied according to regional demands. Different interpretations of intellectual property in copyright laws determined the balance of power between creators and producers of texts. In turn, writers’ relative ability to control copyrights shaped the middleman’s field of endeavour. The range of professional middleman specializations is described. A case study of some American publications of Émile Zola’s novels shows the legal and logistical difficulties of transatlantic publishing in practice. In chapter 3, Stanton’s beginnings as an American newspaper correspondent in Paris precede his middleman role as editor of the European Correspondent, a weekly galley-proof service printed in English in Paris and syndicated to American newspaper editors. Stanton’s work as a European sub-editor of the North American Review and other magazines is detailed in chapter 4. As the Paris representative of Harper & Brothers from 1899, Stanton presented previously unpublished writings of Honoré de Balzac, Victor Hugo, Émile Zola, and others to American readers, also co-operating with French publishers. Case studies portray the challenges and successes of a middleman position within a large, complex enterprise. In chapter 5, a more independent Stanton arranges the simultaneous, posthumous publication of the memoirs of Eugénie, ex-Empress of France, by D. Appleton and Company in New York and London, and in four European translations. Count Maurice Fleury compiled and authored the two-volume work, which was not published in France. The manuscript took a circuitous path to publication through Stanton’s efforts to ensure authenticity, maintain exclusivity, and protect copyright. Methodological approaches of correspondence editing, bibliography, and textual criticism reveal both the processes and the results of Stanton’s mediation and illuminate how the participation of literary middlemen shaped the way French culture was received and understood in North America.

Theodore Stanton’s career as a literary middleman exemplifies several of the intermediary professions in book and periodical publishing that were being created and tested in the late nineteenth century in response to expanded publishing opportunities in France, Great Britain, the United States, and Canada. The need for professional middlemen between writers and publishers developed differently in each country, thus their roles and activities, the literary agent’s in particular, varied according to regional demands. Different interpretations of intellectual property in copyright laws determined the balance of power between creators and producers of texts. In turn, writers’ relative ability to control copyrights shaped the middleman’s field of endeavour. The range of professional middleman specializations is described. A case study of some American publications of Émile Zola’s novels shows the legal and logistical difficulties of transatlantic publishing in practice. In chapter 3, Stanton’s beginnings as an American newspaper correspondent in Paris precede his middleman role as editor of the European Correspondent, a weekly galley-proof service printed in English in Paris and syndicated to American newspaper editors. Stanton’s work as a European sub-editor of the North American Review and other magazines is detailed in chapter 4. As the Paris representative of Harper & Brothers from 1899, Stanton presented previously unpublished writings of Honoré de Balzac, Victor Hugo, Émile Zola, and others to American readers, also co-operating with French publishers. Case studies portray the challenges and successes of a middleman position within a large, complex enterprise. In chapter 5, a more independent Stanton arranges the simultaneous, posthumous publication of the memoirs of Eugénie, ex-Empress of France, by D. Appleton and Company in New York and London, and in four European translations. Count Maurice Fleury compiled and authored the two-volume work, which was not published in France. The manuscript took a circuitous path to publication through Stanton’s efforts to ensure authenticity, maintain exclusivity, and protect copyright. Methodological approaches of correspondence editing, bibliography, and textual criticism reveal both the processes and the results of Stanton’s mediation and illuminate how the participation of literary middlemen shaped the way French culture was received and understood in North America.

Le développement de la modernité picturale dans la seconde moitié du dix-neuvième siècle français est redevable à l'apport de la critique d'art qui en assura le rayonnement. Émile Zola, ardent défenseur de cette nouvelle esthétique, contribua par ses chroniques artistiques à de nombreuses publications tout au long de sa carrière d'écrivain, soit de 1866 à 1896. Ce mémoire met en lumière l'importance de la contribution de l'écrivain par l'analyse des descriptions du corps que l'on retrouve dans ses Écrits sur l'art. Le choix du corps comme sujet doublement représenté par la toile et le texte, souligne, d'un point de vue anthropologique, la relation intime unissant l'art et l'homme. Plus particulièrement, ce travail s'intéresse à la question de la métaphore alimentaire et de son inscription dans le texte. Afin d'appuyer cette hypothèse d'un lien unissant le descriptif et l'alimentaire, nous irons chercher des exemples à la fois dans les Écrits ainsi que dans deux romans de Zola, soit Le Ventre de Paris et L'OEuvre. Nous établirons une catégorisation des métaphores utilisées afin de rendre lisible ce parcours du sensible et de comprendre son ancrage à la fois dans le contexte de l'avènement de la peinture moderne et également dans l'histoire du développement gastronomique de l'époque. Ce rapport à l'alimentaire que l'on retrouve au coeur de l'écrit zolien est ainsi considéré comme étant représentatif d'une esthétique descriptive propre à l'auteur. Notre travail permet donc l'étude d'un corpus où les paramètres de la critique d'art impressionniste et de la littérature naturaliste se rencontrent par le biais de l'utilisation de la métaphore alimentaire dans la création d'une image corporelle. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Émile Zola, Dix-neuvième siècle, Gastronomie française, Métaphore, Critique d'art, Descriptif.

Thèse d'exercice : Médecine. Médecine générale : Paris 12 : 2007. / Titre provenant de l'écran-titre. 109 f. : ill. Bibliogr. f. 97-99. Notes bibliogr.

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 204-207). Also available for download via the World Wide Web; free to University of Oregon users.