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Autobiographical Elements in Zola's La Joie De Vivre
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Trop personnel! Bon Dieu! On ne saurait être trop personnel …
Ce que nous cherchons dans une œuvre, c'est un
homme.“ So, in 1864, did young Émile Zola first justify
the intensely personal note that he was later to strike so often in his
novels. Many of his characters—Sandoz, Claude, Pascal Rougon, Mathieu
Froment—testify that the doctrine of impersonality in art was not for him,
that he did not hesitate to call upon his own memories in the composition of
his figures. In the present study I shall attempt to show that Lazare
Chanteau of La Joie de vivre also may claim a
place in this gallery of self-portraits, that Zola consciously formed him in
his own image and likeness.
Modern Language Association (MLA)
Title: Autobiographical Elements in Zola's La Joie De Vivre
Description:
Trop personnel! Bon Dieu! On ne saurait être trop personnel …
Ce que nous cherchons dans une œuvre, c'est un
homme.
“ So, in 1864, did young Émile Zola first justify
the intensely personal note that he was later to strike so often in his
novels.
Many of his characters—Sandoz, Claude, Pascal Rougon, Mathieu
Froment—testify that the doctrine of impersonality in art was not for him,
that he did not hesitate to call upon his own memories in the composition of
his figures.
In the present study I shall attempt to show that Lazare
Chanteau of La Joie de vivre also may claim a
place in this gallery of self-portraits, that Zola consciously formed him in
his own image and likeness.
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