This thesis compares four Czech translations of the novel Thérèse Raquin by the French writer Émile Zola. The introduction is focused on the source text and its author. Then the thesis deals with the reception of Thérèse Raquin in the Czech culture and refers also to its entry on the Russian cultural scene. The second part of the thesis is focused on an analysis of the Czech translations. This analysis considers the background in which each text was produced, especially from the point of view of time, and it aims to describe not only the language aspects of each translation, but also the global approach of the translator.

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Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2015-2016 / Entre 1865 et 1881, Émile Zola est un journaliste actif à la fois dans la presse parisienne et provinciale ; pendant les dernières années de cette période, il est aussi correspondant pour une revue mensuelle russe, Le Messager de l’Europe. Cette vaste production textuelle constituée au fil de ces seize années de journalisme donne à lire les observations quotidiennes que formule Zola sur la vie culturelle française en usant des multiples ressources génériques de la presse : la chronique, le microrécit, le portrait-carte, le compte rendu parlementaire, l’étude sociale, la notice nécrologique, etc. Cette étude retrace ce parcours journalistique où l’activité littéraire zolienne se fait au contact d’une actualité tantôt immédiate, tantôt très dilatée, et interroge le rapport d’influence que l’on observe entre la presse et le roman zolien. Ce rapport s’opère sur divers aspects de l’œuvre littéraire : discursif (propos tenu sur la presse dans le texte critique, d’escorte ou au cœur de l’univers diégétique), romanesque (présence d’un personnel journalistique dans le roman zolien), thématique (publicité et littérature), poétique (la méthode d’élaboration du roman naturaliste partage des consonances très précises avec celle du reportage), réception littéraire (la critique antinaturaliste reproche au roman zolien d’introduire les procédés de la presse dans la sphère des lettres). L’étude de ces influences révèle que le romancier emprunte aux procédures journalistiques, et plus significativement aux procédures documentaires, certains modes de saisie du réel déterminants dans la composition de l’œuvre romanesque en régime naturaliste. En cela, on peut avancer que les pouvoirs cognitifs de la fiction zolienne procèdent d’un imaginaire de la documentation étroitement lié à celui du journal au XIXe siècle. / From 1865 to 1881, Émile Zola is a journalist both in the Parisian and the provincial press; he also is, during the last years of this period, a correspondent for a Russian monthly magazine, The Messenger of Europe. The vast textual production of those sixteen years of journalism gives access to Zola’s daily observations about French cultural life using the many usual forms of the press : the column, the micro-narrative, the « portrait-carte », the parliamentary account, the social study, the obituary, etc. The present literary criticism follows this journalistic career and the contact of zolian literary activity with immediate and not so immediate news, and reflects on the relation and the influence between the press and the zolian novel. This relation can be seen in many aspects of the literary work : discursive (remarks on the press in criticism, in a preface or in the heart of the diegetic universe), fictional (presence of journalistic staff in a zolian novel), thematic (advertising and literature), poetic (the construction of a naturalist novel is very similar to the construction of reportage), literary reception (the antinaturalist critique of zolian novels criticizes its introduction of journalistic methods in the literary world). The study of these influences shows that the novelist borrows, from journalistic methods, and especially from documentary methods, certain ways of grasping reality which are crucial in the composition of a novel in the naturalistic scheme. Thus, we can affirm that the cognitive powers of zolian fiction stem from a documentation imagination closely linked to the imagination of 19th-century press.

La thèse porte sur la représentation de la foule " rebelle " dans la littérature italienne du XIXème siècle. Tout en considérant les contributions des sciences sociales, de Le Bon a l'école lombrosienne de Scipio Sighele et Pasquale Rossi, passant par Freud, jusqu'aux sociologues plus contemporains, comme Reich, Ortega y Gasset, Canetti, Allport, Turner etc, la recherche se concentre sur le roman et la nouvelle, qui voient le jour dans une Italie qui, luttant pour son unité nationale, n'arrive pas a transformer la révolution politique en révolution nationale, selon la formule de Nievo. Manzoni fixe le modèle de représentation des foules rebelles, qui sera suivi par Nievo avec des variations importantes. Ensuite, l'influence de Zola s'ajoutera a celle de Manzoni et dominera, d'une part, l'idée que la foule est capable de montrer un comportement rationnel et d'être un sujet vraiment révolutionnaire (les scapigliati, Valera, De Amicis, etc), d'autre part celle du pessimisme et du destin prédéterminé des masses (Verga). Enfin, Gabriele D'Annunzio, dans ses nouvelles et ses romans, oscillera entre la fascination pour la sauvagerie des foules et son méprise d'aristocratique.

Au carrefour de la théorie des genres, de l’histoire littéraire et de l’herméneutique, ce travail entreprend de repenser le statut de l’idylle dans la littérature française du XIXe siècle. Allant à l’encontre du lieu commun selon lequel l’idylle ne serait plus, après André Chénier, qu’un genre figé dans des clichés définitivement anachroniques, il propose quelques outils conceptuels permettant d’analyser la dynamique actuelle des formes et des significations de l’idylle. La notion articule, au XIXe siècle, trois logiques majeures : une logique rhétorique, qui inscrit l’idylle dans une poétique des genres ; une logique historico-philosophique, qui, depuis le XVIIIe siècle, envisage l’idylle comme un mythe de l’origine et une figuration de l’Idéal ; une logique psychologique, enfin, issue de la révolution Romantique, qui définit l’idylle en termes d’illusion, de fantasme ou de rêve. Du fait même de cette complexité, l’idylle est un point d’observation privilégié des grandes mutations de la modernité. En brossant un panorama général des évolutions du genre au XIXe siècle et en interrogeant les références explicites à l’idylle dans certaines œuvres poétiques et romanesques majeures de Nerval, Hugo, Baudelaire, Mallarmé, Balzac et Zola, cet ouvrage propose un point de vue nouveau sur la crise de la subjectivité, sur la crise de la représentation littéraire et sur la redéfinition du traditionnel partage entre prose et poésie. / This work aims to re-think the status of the idyll in the French literature during the 19th century by combining theory of literary genres, literary history and hermeneutics. Objecting to the common-sensical idea that the idyll has evolved into a frozen genre full of anachronical clichés after André Chénier, it provides some conceptual ressources to analyze the actual dynamics of the idyll, both in terms of form and signification. The notion follows three main logics : a rhetorical one, which places the idyll into the poetic of literary genres, an historical and philosophical one, which, since the 18th century, considers the idyll as a cue of a mythical origin and an image of the Ideal, and lastly, a psychological one, born with the romantic revolution, which understands the idyll in terms of illusion, fantasies or dreams. Because of its intrinsic complexity, the idyll provides a priviliged point of view to examine the most important changes of the modern times. This work gives an overview of the evolution of the genre during the 19th century and examines the explicit references to the idyll made by Nerval, Hugo, Baudelaire, Mallarmé, Balzac and Zola in some of their major poetical works and novels. In doing so, it develops a new perspective on the crisis of the subjectivity, the crisis of literary representation and the redrawing of the traditional distinction between prose and poetry.

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.