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Cargando... Teresa Raquin (1867)por Émile Zola
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Inscríbete en LibraryThing para averiguar si este libro te gustará. Actualmente no hay Conversaciones sobre este libro. Not terribly good. The prose is solid and strong, but the story is boring and drawn out. It reminds me a lot of The Tell-Tale Heart by Edgar Allan Poe. What Poe did in a short story has been extended to a full-length novel here. Sort of a waste, but will consider Zola again, only upon recommendation though. ( ) My very first Zola and very much a novel of two halves - on the one hand, the beginning of this is absolutely fantastic with detailed realist and almost cinematic description establishing the scene and main personages with a really observant eye, from there evolving into a compelling psychological fiction. Up until the Big Change, this almost feels like the archetypal film noir plot or even a slightly surreal embryonic erotic thriller as it's also incredibly daring in its depiction of murderous lust; some of the sexiest writing you'll see from a 19th century novel as well as pungently violent and passionate. With how compelling this was proving to be I was well prepared for this to be an all-timer for me... and then it all turned round. After the pivotal scene, this begins to evolve in a direction which increasingly detaches from the original realist intention into almost horror fic territory, something more like Poe than I could have ever expected coupled with an unusual depiction of corporeal guilt that feels at once (like many things in this novel) very of its time and very modern. Unfortunately this change isn't an elegant one, and I feel like from the (excellently written and gruesome) morgue sequence it begins to get incrementally less compelling and more repetitive, eventually becoming quite grating in how much suffering and sadism it mets out on both the reader and the characters. The temperaments concept, while interesting, also contributes to this as it feels like the people here become increasingly stereotyped and flat and the Huis Clos-esque claustrophobia doesn't come off well when coupled with so many repeated events and a bombardment of needless cruelty. I'm all for depressing and dark but it all begins to feel a little cheap when there's not even a hint of transcendence or social comment in the mix and the complete dourness only made reaching the ending more of a slog on that front. So in summary, there's half a great novel in here and half a disappointment - won't put me off Zola too much however as the good stuff here is really good and I'm aware this was only his third or so novel written at 27 (!) years of age, so we'll see how my experience with the Rougon-Macquarts goes in the future. _______ I started to be able to sight read towards the end of this without too much difficulty and I noticed my reading speed picked up greatly and I became much more fluid a reader with the language by the time I was done - I really don't feel like French is a foreign language to me by this point. Granted I moved through the last sections quite swiftly as I wanted to be done by that point but the fact I read a novel I was considering to be quite a great challenge with some ease is really encouraging for me. While none of the characters in this novel are very nice, Zola manages to make them human and thus understandable. Immensely readable, this tale of lust and murder focuses on the psychological toll of committing murder. I am glad that I read it (well, actually mostly listened to the audiobook edition) but doubt I would ever reread this.
sebbene i francesi vogliano fare i primi della classe in letteratura, arte, filosofia, poesia, non saranno mai in grado di realizzare questo utopico sogno. perchè la falsità li forgia dalla notte dei tempi Pertenece a las series editoriales — 8 más Lanterne (L 204) Le livre de poche (0034) Medallion Penguin Classics (L120) Mirmanda (5) Penguin Classics (L120) Prisma Klassieken (35) Contenido enTiene la adaptaciónAparece abreviada enTiene como guía de estudio aListas de sobresalientes
«...pretendí estudiar temperamentos y no caracteres. En eso consiste el libro en su totalidad. Escogí personajes sometidos por completo a la soberanía de los nervios y la sangre, privados de libre arbitrio, a quienes las fatalidades de la carne conducen a rastras a cada uno de los trances de su existencia. Thérèse y Laurent son animales irracionales humanos, ni más ni menos. Intenté seguir, paso a paso, en esa animalidad, el rastro de la sorda labor de las pasiones, los impulsos del instinto, los trastornos mentales consecutivos a una crisis nerviosa.» Así presentaba Émile Zola Thérèse Raquin (1867), su cuarta novela y la primera en la que toma forma literaria el ideario naturalista. A partir de un trágico suceso ampliamente comentado en la prensa de la época, esta historia de pasión ineluctable, adulterio, asesinato y remordimiento en una oscura mercería del pasadizo de Le Pont-Neuf, escrita con «una meta científica» y desatendiendo a la moral, cosechó sin embargo para su autor más acerbas recriminaciones de los moralistas, incapaces de ver que «cada uno de los capítulos es el estudio de un caso fisiológico peculiar». Pero instauró, al mismo tiempo, un modelo novelístico que habría de presidir, en Europa y América, más de cincuenta años de imperecedera literatura.Émile Zola nació en París en 1840. Hijo de un ingeniero italiano que murió cuando él apenas tenía siete años, nunca fue muy brillante en los estudios, trabajó durante un tiempo en la administración de aduanas, y a los veintidós años se hizo cargo del departamento de publicidad del editor Hachette. Gracias a este empleo conoció a la sociedad literaria del momento y empezó a escribir. Thérèse Raquin (1867) fue su primera novela «naturalista», que él gustaba de definir como «un trozo de vida». En 1871, La fortuna de los Rougon inició el ciclo de Los Rougon-Macquart, una extensa «novela experimental» cuyo propósito era trazar la «historia natural y social de una familia en el Segundo Imperio»; a este ciclo pertenecen veinte novelas, entre ellas La caída del abate Mouret (1875), L’Assomoir (1877), Nana (1880), El Paraíso de las Damas (1883) y El doctor Pascal (1893). Zola seguiría posteriormente con el sistema de ciclos con las novelas que componen Las tres ciudades (1894-97) y Los cuatro Evangelios (1899-1902). En 1897 su célebre intervención en el caso Dreyfuss le valió un proceso y el exilio. Murió en París en 1902 No se han encontrado descripciones de biblioteca. |
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Google Books — Cargando... GénerosSistema Decimal Melvil (DDC)843.8Literature French French fiction Later 19th century 1848–1900Clasificación de la Biblioteca del CongresoValoraciónPromedio:
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