ABSTRACT When Emile Zola published his naturalist account of the life of a Parisian courtesan Nana in 1880, the novel was immediately accused of pornography for its graphic content and its eponymous heroine's constant nudity. This paper argues that Zola's representation of Nana's body is actually drawn from the iconography of contemporary pornographic photography. Far from being pornographic, however, Zola's use of photographic nudity is simultaneously a testament to the widespread social reach of these images by the end of the nineteenth century and an integral part of the novel's argument about the sexual economics of fin-de-siècle France. Reconsidered through the lens of photography, Zola's novel is a remarkable denunciation of the interconnected social problems of prostitution and pornography and their effects on modern society.

中文翻译：

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娜娜的裸体摄影：左拉和早期裸体摄影

摘要当埃米尔·佐拉（Emile Zola）在1880年发表他对巴黎妓女纳娜（Nana）生活的博物学家的描写时，这部小说立即因其图像内容和同名女主角的裸体而被指控为色情作品。本文认为，佐拉对娜娜身体的描绘实际上是从当代色情摄影的肖像画中得出的。然而，佐拉对摄影裸体的使用绝非色情，同时也证明了这些图像在19世纪末在社会上的广泛传播，并且是小说中关于法国末尾性爱经济学的观点的组成部分。从摄影的角度重新考虑，左拉