Certain features of it seem to be contained in Freud's letter to Fliess of February 9: a) Freud had just been on quite a long journey to Hungary for a consultation; b) he was reading the literature on dreams, which, apart from Fechner's thoughts on the subject, disappointed him; and he had taken a major decision: ‘My self-analysis is at rest in favour of the dream book [The Interpretation of Dreams]’; c) he was following Emile Zola's trial (‘A fine fellow’), which had just opened in Paris (Zola was being prosecuted for his celebrated open letter ‘J'accuse…!’
Charcot's literary friendships, his books on art, written in collaboration with Paul Richer, such as Les démoniaques dans l'art (1887) and Les difformes et les malades dans l'art (1889), and his demonstrations at La Salpêtrière resulted in a whole generation of novelists being inspired by psychiatry – the Daudets father and son, Emile Zola, Guy de Maupassant, Joris Karl Huysmans, Paul Bourget, Jules Claretie, and later Pirandello, Proust and the Surrealists.
When asked by a Viennese newspaper editor in 1907 to list ‘ten good books’ (L 278), Freud selected the following:
three English-language writers: Rudyard Kipling (1865–1936): The Jungle Book (1894); Thomas Macaulay (1800–1859): Essays (1825–43); and Mark Twain (1835–1910): Sketches;
two French novelists: Anatole France (1844–1924): Sur la pierre blanche (1905); and Emile Zola (1840–1902): either Fécondité (1899) or Le docteur Pascal (1893);
three German-language writers: two Swiss novelists, Gottfried Keller (1819–90): Die Leute von Seldwyla (People of Seldwyla) (1856), and Conrad Ferdinand Meyer (1825–1898): Huttens letzte Tage (Hutten's Last Days) (1871); and the celebrated Viennese Hellenist, Theodor Gomperz, who came from a wealthy Jewish family (1832–1912): Grieschische Denker (Greek Thinkers);
the German translation of a book by a Dutch author, Multatuli: Briefe und Werke (Letters and Works);1
The pseudonym, from the Latin multa tuli (which can mean both ‘I have borne much’ and ‘I have related much’), chosen by Edward Doyweac Dekker (1820–87); his novel Max Havelaar (1860), an indictment of Dutch colonial administration in Indonesia, made him famous in Austria, where he was regarded as a revolutionary.
1979
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APERÇU SUR L'ÉVOLUTION DES CONCEPTS DE MÉMOIRE ET DE SOUVENIR DANS L'ŒUVRE DE FREUD
André Barbier
12, rue Emile-Zola
34000 Montpellier
J'essaierai de condenser dans cet exposé l'essentiel d'un travail récemment présenté au Séminaire méditerranéen de J.
Hier kwamen de mensen bijeen die het voedsel aan de stad verstrekten, in een tijd waarin schrijvers als Victor Hugo en Emile Zola deze wijk ‹de buik van Parijs› noemden.
50). Emile Zola, conversely, took a more cautious and conciliatory approach towards the hostile critics when he explained that, “Manet has been reproached for imitating the Spanish painters.
The more formalist perspective represented by Emile Zola, who minimized the Spanish influence and argued that Manet was not primarily interested in his subject matter but used it as a pretext for solving problems of form and color, is still equally prevalent among 20th century art historians.
Curiously enough, it was once again the voice of Emile Zola who originated the idea that the Spanish Masters gave Manet a language, “the Spanish accent with which he spoke for the first time,” (Hamilton, 1968, p.
— Le 24 avril 1900 : « Fécondité » von Emile Zola (« Fécondité » d'Emile Zola)64.
— Entre le 11 mars et le 30 décembre 1902 : Emile Zola.
Zola meurt le 29 septembre 1902.
A ce sujet, Reik écrit : « Il me suggéra, au cours d'une promenade, d'écrire une monographie psychanalytique sur Emile Zola. II savait une foule de choses étonnantes sur Zola : sur sa vie conjugale, ses deux enfants illégitimes, et cette compulsion de travail d'où nous vient l'étude la plus approfondie sur le sujet dont traitent ses nouvelles.
To emphasize what she meant, she quoted Emile Zola: ‘Le beau c'est le laid’ (Kollwitz, 1968, pp.
Kollwitz reminds us of this when she quotes Emile Zola: ‘Le beau c'est le laid’.
Segal reflects on what is beautiful and what is ugly and she concludes that ‘both beauty, in the narrow sense of the word and ugliness must be present for a full aesthetic experience … broadly speaking … “ugly” is the content … and “beautiful” is the form’ (Segal, 1952, p.
The likeness between Emile Zola and Jacques Lantier
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can be traced without much difficulty.
When Zola was six his father passed away. Emile found himself suddenly transported from prosperity to poverty, for which he doubtless blamed his mother.
Notes
Jeffrey Moussaieff Masson
Emile Zola, Les quatre Evangiles — Fécondité, in Les Oeuvres complétes, notes and commentary by Maurice Le Blond (Paris: François Bernouard, n.d.
Emile Zola, a keen observer of human nature, describes in
La joie de vivre how a girl, cheerfully and selflessly and
without thought of reward, sacrificed to those she loved everything that she
possessed or could lay claim to—her money and her hopes.
Eine nahe an 30 Jahre alte Dame, die an den schwersten Zwangserscheinungen litt, und der ich vielleicht geholfen hätte, wenn ein tückischer Zufall nicht meine Arbeit zunichte gemacht hätte —
This page can be read in English in the Standard Edition Vol 16, Page 260
E. Toulouse, Emile Zola. Enquête médico-psychologique, Paris 1896.
In replying to Heller's questionnaire, Freud deliberately offered Mark Twain, Emile Zola, Anatole France, Lord Macaulay and the others as instances of writers whom he enjoyed, much as one enjoys good friends.
Ruitenbeek has assembled a collection of essays which deal primarily with psychoanalytic interpretations of such well-known homosexual literary figures as Andre Gide, Percy Bysshe Shelley, Arthur Rimbaud, Denis de Saint-Parin, Walt Whitman, Radclyffe Hall, Emile Zola, Oscar Wilde, and Marcel Proust.
Of French authors Freud chiefly admired Anatole France, his favourite of all, Flaubert for his imaginative insight, and Emile Zola for his realism.
He was usually complaisant about reading books recommended to him, but I remember one occasion when I failed.
Shaw, George Simenon, Stendhal, Henry Thoreau, and Emile Zola. And, of course, Henrik Ibsen, “a Norwegian like her father but one whose sensibility comes much closer to her own” (p.