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La fenêtre condamnée : Transparence et opacité de la représentation dans Les Rougon-Macquart d’Émile Zola

Abstract : TTransparent panes of glass and wide-open windows are some of the common models Zola’s critics have set up to emphasise the will of transitivity in his art. Although they denounce this idea as a literary utopia, it is still used as a pertinent key to understand Zolian fictional processes. La fenêtre condamnée questions the promotion of the “transparent window” to a metadiscursive symbol of Zolian transitivity by analysing its actualization in the Rougon- Macquart cycle. The study points out an astonishing dysfunction of this supposed “adjunct” of description in the novels, pleading for a totally different aesthetic pattern : an aesthetic of opaqueness, attacking all means of depicting objective reality (windows panes, mirrors,investigators, realistic artists...). Therefore, Zolian naturalism benefits from being understood as a metaphoric voyeurist perversion. Like Peeping Tom, Zola’s fiction acknowledges its desire to be out of reach, but its maintains it in order to avoid disappointment. This idea of an inaccessible reality makes Zolian writing very close to theories apparently far from thecaricature of naturalism : world and reality as an illusion in Taine and Schopenhauer’s theses ; work of art as an artefact or a fetish, enclosed for the projection of a subjective mind, foreshadowing avant-gardist researches in Mallarmé’s poetry, or pioneering abstract paintings
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Submitted on : Tuesday, July 17, 2012 - 5:02:34 PM
Last modification on : Monday, December 13, 2021 - 12:02:16 PM
Long-term archiving on: : Thursday, October 18, 2012 - 3:20:13 AM


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  • HAL Id : tel-00718628, version 1


Émilie Piton Piton-Foucault. La fenêtre condamnée : Transparence et opacité de la représentation dans Les Rougon-Macquart d’Émile Zola. Littératures. Université Rennes 2, 2012. Français. ⟨NNT : 2012REN20015⟩. ⟨tel-00718628⟩



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