L'Assommoir


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L’Assommoir

study of the demoralizing effects of alcohol. [Fr. Lit.: L’Assommoir]
References in periodicals archive ?
Naturalism's entry into American cultural discourse predates the release of the first, pirated, translations of Emile Zola in the early 1880s and can be traced back to theatre adaptations of his 1877 novel L'Assommoir, a study of a family's decline due to alcoholism.
Rescatemos de forma sintetica algunos de los postulados que fueron expuestos en relacion con L'Assommoir, en especial:
Furthermore, focusing exclusively on the work's anti-Gloria storyline fails to shed light on why Emile Zola's L'Assommoir (1877) was the only work alluded to in the preface.
Le cote francais et francophone enregistre lui aussi des productions remarquables portant sur la problematique des genres: Simone de Beauvoir ecrit Le Deuxieme sexe, Honore de Balzac dresse des portraits feminins dans Eugenie Grandet, Emile Zola depeint Gervaise dans L'Assommoir, Corinna Bille traite de l'incompletude feminine dans Juliette Eternelle et Georges Rodenbach depeint une facette peu connue de la masculinite dans Bruges-la-mort.
Como lo habia expuesto Zola en su novela L'Assommoir, Picasso, Manet y Degas en la pintura, los bajos fondos y los barrios obreros estaban plagados por el alcoholismo.
Zola's income had just skyrocketed after a hit with L'Assommoir, the seventh book in his Rougon-Macquart saga.
Often unfortunate heredity (as in L'Assommoir [1877]) could cause his protagonists to have difficulty coping with life's problems, consequently struggling in an increasingly difficult environment that forced them to act more and more like animals.
This complicity is explored in the living, breathing organism that devours Gervaise in L'Assommoir, a monstrosity that her daughter Nana later embodies.
or Lost By Drink, a then twelve-year old play based on Emile Zola's L'Assommoir, laid stress on the public house scene, "complete with Chandeliers and other effects embracing sixty Globes" (The Era 18 Apr.
Rita Sakr's essay uses the Vendome episode in Zola's L'Assommoir to cast further light on the cryptic "Parable of the Plums" in the "Aeolus" episode in Ulysses; but the analysis of what Zola intends seems more convincing than the account offered of Joyce's "Parable", where the argument requires a number of qualifications.
Dans L'Assommoir, le personnage de Goujet enregistre une evolution dans le traitement de l'allegorie, l'artisan de village devenant ouvrier travaillant dans un atelier en ville.
As Zola's career as a naturalist developed, the publication of works such as L'Assommoir (1877), Pot-Bouille (1882), Germinal (1885), and La Bete Humaine (1890) provoked wider criticism and disgust from sections of French society frustrated with his challenge to order, power structures, and tradition.

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