Abstract:

Émile Zola explains the inclusion of the Paris Commune of 1871 in his novel, La Débâcle (1892) in terms of his Naturalist epistemophilia: "Je veux tout mettre, je suis toujours désespéré du champ limité de la réalisation." But Naomi Schor has called this fictional representation of the Commune a "pons asinorum," or stumbling block, for Zola's critics. This article responds to Schor's challenge by tracking the aesthetic and ideological ambiguities of the final two chapters of Zola's novel through close reading of allegory and intertextuality (in particular, Edmond de Goncourt's response to Zola and the Commune). The article examines how Zola's denouement brings into focus the fall of the Commune during the Bloody Week (i.e. the culmination of the political plot) through the exquisite pain of the Jean/Henriette/Maurice love triangle (the romance plot).

摘要：

埃米尔·佐拉（ÉmileZola）在其小说《 LaDébâcle》中解释了1871年的巴黎公社（1892）关于博物学家的认识论上的迷恋：“ Je voux tout mettre，je suis toujoursdésespérédu champlimitéde laréalisation。” 但纳奥米·舒尔（Naomi Schor）将这种对公社的虚构表述称为佐拉（Zola）评论家的“ pons asinorum”或绊脚石。本文通过仔细阅读寓言和互文性（尤其是爱德蒙·德·古古特（Edmond de Goncourt）对佐拉和公社的回应）来追踪佐拉小说最后两章在美学和意识形态上的歧义，从而回应了肖尔的挑战。本文考察了佐拉（Jola）的结局如何通过让（Jean）/亨利埃特（Jen / Henriette）/莫里斯（Maurice）三角恋（浪漫情节）的精致痛苦，使血腥周期间的公社陷落（即政治情节的高潮）成为焦点。