Papers by Gül Tekay Baysan
Frankofoni, Revue d'études et recherches francophones, 2023
Edebiyatın, yaşamın her alanında olduğu gibi eğitimde de önemini yitirdiğini görüyoruz. Edebiyatı... more Edebiyatın, yaşamın her alanında olduğu gibi eğitimde de önemini yitirdiğini görüyoruz. Edebiyatın saygınlığını gitgide yitirmesini bir kriz (Séoud), ya da tehlike (Todorov, Houdart-Merot) olarak niteleyen yazarlar var. Bunun, edebiyatın tek ve belirgin bir tanımının olmamasından kaynaklandığını düşündüğümüzden, önce, edebiyat kuramı, felsefe, eğitim bilimleri, toplumbilim, göstergebilim, stilistik gibi farklı alanlardan çağdaş yazarların kavrama bakışlarını inceliyoruz. Bazılarının biçimi, bazılarının özü öne çıkardıklarını, edebiyatın estetik yönünü vurgulayanların yanında, etik boyutuna önem verenlerin olduğunu görüyoruz. Moran, bir edebiyat yapıtının yalnızca ne fikirleriyle, ne de estetik yönüyle değerlendirilebileceğini savlıyor. Eagleton, bir yapıtın bir fikir, bir felsefe, bir manevi değer taşıdığını düşünüyor. Sartre, yazarın toplumu gerçekler hakkında bilgilendirme sorumluluğunu vurguluyor. Edebiyat eğitimi konusundaki görüşler de edebiyatla ilgili yaklaşımlara göre değişiyor. Todorov, edebiyatın sanat yönünü önemsiyor ve özanlatımlı olduğunu savlıyorsa da, insani değerini ve eğitselliğini yadsımıyor. Barthes, bir söyleşide, edebiyatın engin bir siyasal bilgi içerdiğini, hatta öğretilmesi gereken tek şey olduğunu dile getiriyor. Doubrovsky yalnızca estetik açıdan ele aldığı edebiyatın, işe yaramadığı ölçüde sanat sayılacağını, öğretilemeyeceğini ileri sürüyor. Biz, Sartre'ın Edebiyat Nedir ? adlı kitabındaki görüşlerinden ve filozofun kullandığı bir metafordan yola çıkarak, bir yazarın, konuşurken hedef alarak ateş eden biri olabileceğini varsayıyoruz. Farklı dönem, tür ve akımdan dört ayrı yapıtı bu açıdan ele alıyoruz : Voltaire'den bir yergilik, Maupassant ve Jean-Claude Izzo'dan birer öykü ve Baudelaire'den bir şiir. Bu örneklerden hareketle, edebiyatın dogmatizme karşı bir aşı olduğunu (Meirieu), otorite karşısında bireyin özgürleşmesini sağladığını (Compagnon), herkesin ortak öğretmeni olduğunu (Todorov), insani değerlerden soyutlanamayacağını (Eagleton), yazarın toplumun vicdanı olduğunu (Sartre) saptıyoruz. Edebiyatın hem bir sanat olduğunu hem de bir işlevi olabileceğini (Moran) kabul ediyoruz. Edebiyatın içinde evrensel değerler barındırdığı, öğretilebileceği ve eğitimde yeniden önem kazanması gerektiği sonucuna varıyoruz.
Frankofoni. Revue d'études et recherches francophones., 1996
Condorcet et les droits naturels de l'homme
Rumelide Dil ve Edebiyat Araştırmaları Dergisi, 2022
Bu çalışmanın başlıca amacı bir söylem türü olan diyalogların içinde bulunduğu öğretim materyalle... more Bu çalışmanın başlıca amacı bir söylem türü olan diyalogların içinde bulunduğu öğretim materyallerini incelemektir. Çalışmada Yabancı Dil Olarak Fransızca Öğretimi alanında medya söyleminde yer alan diyalogların, öğrenenleri söylem çözümlemesi gerçekleştirmeye yönlendirmek amacıyla kullanılıp kullanılmadıkları incelenmiştir. Çalışma, Fransız televizyon kanalı TV5 Monde tarafından oluşturulan Fransızcanın öğretimi/öğrenimiyle ilgili web sitesinde kullanılan diyaloglara odaklanmıştır. Çalışmada öncelikle Yabancı Dil Olarak Fransızca Öğretiminde Söylem Çözümlemesinin önemi ve ortaya çıkışı, daha sonra da medya söylem türlerinden biri olan diyaloglar ele alınmıştır. Son olarak TV5Monde Fransızca öğretimiyle ilgili web sitesinden alınan ve Diller İçin Avrupa Ortak Başvuru Metni’ne göre özerk (Fr. autonome) olarak kabul edilen C1 düzeyindeki bir diyalog söylem kavramları ve terimleri açısından çözümlenmiştir. Çalışmanın sonucunda incelenen diyaloğa ait öğrenen ve öğretmen dosyalarının söylem çözümlemesi kavramlarını ve etkinliklerini içerdikleri ve öğrenen kişiyi söylem çözümlemesi yapmaya yönlendirdikleri saptanmıştır. Ancak incelenen diyaloğun C1 düzeyinde olduğu düşünüldüğünde söylem çözümlemesine ait daha fazla alıştırmanın (konuşucuların konumlanması, söylemsel kimlikleri, başvurdukları stratejiler vb.) gerçekleştirilebileceği de söylenebilir. Öğrenen dosyasında yer alan alıştırmaların herhangi bir ünitede alıştırmalarda olması gereken sıra ve içeriğe uygun olduğu da çalışmadaki saptamalar arasındadır. Gerçekleştirilen incelemenin sonunda, diyaloğa ait tüm alıştırmaların açık uçlu sorulardan oluştuğu görülmüştür. Öğrenenin bilgilerinin ölçülmesinde ve değerlendirilmesinde çeşitliliğin artırılması için farklı alıştırma türlerinin birlikte kullanılması önerilebilir.
Dialogues et Cultures, Revue de la FIPF, 66, 2021
Cette étude porte sur l’histoire et l’état actuel de l’enseignement de français en Turquie. Le fr... more Cette étude porte sur l’histoire et l’état actuel de l’enseignement de français en Turquie. Le français, première langue occidentale enseignée à l’époque ottomane, maintint longtemps sa place privilégiée en Turquie républicaine. La décision de créer une branche des langues étrangères à l’Institut pédagogique Gazi se réalisa en 1941 avec l’ouverture de la section de français destinée à la formation des professeur.e.s
du primaire et du secondaire. Ce département fut, en même temps, le berceau d’un foisonnement intellectuel et culturel avec ses éminent.e.s enseignant.e.s et diplômé.e.s. Les années suivantes virent se fonder de nouveaux départements sur le modèle de Gazi, qui furent attachés à des universités après 1982. De nos jours, il se trouve dix départements de FLE, tous ayant le même programme d’études. Malgré le déclin dans l’enseignement du français provenant des changements des politiques
éducatives, il y a un renouveau chez les enseignant.e.s qui ouvre sur les horizons d’espoir.
FRANKOFONİ, Revue d'études et recherches francophones, 2022
AMBITION, POUVOIR, FOLIE À PLASSANS
Cet article aborde La Conquête de Plassans de Zola (1874), qu... more AMBITION, POUVOIR, FOLIE À PLASSANS
Cet article aborde La Conquête de Plassans de Zola (1874), quatrième volume des RougonMacquart. De nos jours, moins connu que beaucoup d’autres romans du cycle, le livre fut l’objet d’éloges de grands auteurs de l’époque. Il raconte la tragédie d’un couple dans le contexte de la
possession d’une maison et d’une ville par un prêtre qui n’est qu’un agent du gouvernement de Napoléon III. Il s’agit de l’histoire naturelle et sociale d’une famille, et de l’histoire politique de la France sous le second Empire. Le roman se repose, d’une part, sur les thèses de l’hérédité naturelle, et analyse, d’autre part, la structure politico-historique de la France des années suivant le coup d’État. La folie se présente comme une synthèse du contexte historique et de la tendance innée des époux à des pathologies psychiatriques. Zola brosse la rivalité et la collaboration entre
les classes dirigeantes, des intrigues combinées et des tourments infligés au nom du pouvoir. Il dénonce la corruption sociale comme source et fruit indispensables de la politique de l’époque. Si les protagonistes, un couple de deux cousins, sont enclins à des troubles mentaux, ce qui provoque
la folie, c’est le contexte social qui aboutit à la perte du contrôle de l’espace qui était le leur. Zola y aborde l’histoire sociale d’une optique dynamique, tout en soulignant les rapports dialectiques entre
l’homme malade et la société malade. Il dénonce les liens entre la religion et la politique et étudie la notion de morale chez les classes dirigeantes ainsi que chez le peuple. Il faut aussi noter le style de Zola qui est à la fois pathétique et satirique et la richesse de ses images créées d’un bout à l’autre de l’histoire. Par conséquent, c’est un roman à lire et relire pour commémorer la mémoire d’Émile Zola au 120e anniversaire de sa disparition.
Mots-clés: coup d’État, religion et pouvoir, ambition, roman expérimental, hérédité et milieu, espace, pathologie mentale, pathologie sociale
AMBITION, POWER, LUNACY IN PLASSANS
This article studies La Conquête de Plassans (The Conquest of Plassans) of Émile Zola (1874), forth volume of the Rougon-Macquart series. Less known today compared to many other novels of the series, the book was once praised by great authors of the epoch. It is the tragedy of a married
couple in the context of the capture of a house and a city by a catholic priest who is an undercover agent of the government of the Emperor Napoleon III. The book is about the natural and social history of a family, and the French political history under the second empire, thus it is based both on natural heredity theory and the politico-historical structure of the coup d’Etat period. As to the lunacy, it is observed as a synthesis of the historical context and the couple’s innate tendency toward psychiatric disorders. Zola portrays the rivalry and collaboration between ruling classes, conspiracies and torments caused for the sake of power. He denounces social corruption both as indispensable cause and effect of the political corruption of the period. Though the protagonists are prone to mental disorders due to the genes inherited from their common grandmother, it is the social context ending in the loss of control on their own space which provokes the lunacy. The author treats social history through a dynamic perspective and highlights the dialectical connexions between human and social pathologies. He divulges the relations between religion and politics and approaches the notion of morality of the ruling classes as well as the common people. The style of Zola, alternating between the pathetic and the satiric, as well as the richness of the images are remarkable. Consequently, this is a novel to be read and re-read to commemorate Émile Zola on the 120th anniversary of his passing.
Keywords: coup d’Etat, religion and power, ambition, experimental novel, heredity and milieu, space, mental pathology, social pathology
Le parcours de l'abbé Pierre, Jun 2022
EXTENDED ABSTRACT
In his second cycle of novels Les Trois Villes - Three Cities: Lourdes (1894... more EXTENDED ABSTRACT
In his second cycle of novels Les Trois Villes - Three Cities: Lourdes (1894), Rome (1896) and Paris (1898), Zola has for a protagonist a Catholic priest named Pierre Froment. The reader visits the three cities of the fin de siècle through the eyes of Pierre and witnesses his loss of faith. Some of the topics covered by this cycle include his visit to Lourdes and his thoughts about the pilgrimage and miracles; his bitter feelings on the exploitation of the ill and hopeless; his New Rome, a book on the primitive purity of Christianity and its condemnation by the Congregation of Index; his journey to Rome and his observations on the papacy, especially on the political and financial ambitions of the high clergy; and his reflections on the social and political corruption, iniquity, and rise of violence in Paris. Zola debates, through the series, many social issues contemporary to the production of these novels. These include infamous financial scandals, unemployment, anarchic attacks, and urban renewal projects carried out to the detriment of both the environment and working-class residents.
The trilogy is a basis for discussion of dogmas, the vows of celibacy and chastity, the natural inclination for love and procreation, and the virtue of science and labour. Furthermore, the author emphasizes his disapproval both of terrorism and the death penalty and underlines the absurdity of the conflicts between the theoreticians of numerous social doctrines.
Each novel based on a city describes two cities separated by class conflict. These novels are not only about Pierre’s journeys and his wanderings inside the three cities, but they also reveal his spiritual, sentimental, and intellectual path. Guillaume, the priest’s scientist brother, and his family members become, in time, his role models in his research for truth and justice. The women around him also have an important role in his journey. First of all, there are two devout women: his mother, who made him choose the clerical state, and his platonic childhood love, a paralyzed girl whose faith-healing makes him think about miracles. Finally, two independent women help him find his new path: the grandmother of his nephews, an exemplary character of strength and honour, and Marie, an educated young girl with whom he falls in love. The cycle ends with Pierre replacing the notion of charity with that of justice and leaving the Church. If Pierre cannot cure all ills during his travels between the three cities and his comings and goings between two urban poles, he will have, at least, given up the double life of an agnostic priest that he had led just to be able to heal some social injury.
Today, the last novels of Zola, especially those of the trilogy of the cities, are not as well-known as his Rougon-Macquart books. Zola critics explain this unfamiliarity with various and sometimes contradictory reasons: the author’s being a celebrity whose popularity might have advanced his work; his becoming an object of hate, especially after the Dreyfus Affair; his severe criticisms of the iniquities of the Third Republic regime; and some scholars’ finding the last novels idealist and didactic, therefore incompatible with Zola’s naturalism and his conception of the experimental novel.
In fact, although Zola explicitly exposes his own ideas and feelings in these novels, it is also important to note that they are based as much, perhaps more on reality than his previous works. It isn’t about a recent reality like that of The Natural and Social History of a Family under the Second Empire; on the contrary, the events that take place in these cities and the author’s writing about them are almost simultaneous. Zola depicts Lourdes and Rome according to his travel notes. As for Paris, he knows his birthplace very well, as attested by some of his previous works, famous especially for their urban descriptions. The preparatory notes for the novels as well as the author’s correspondence also witness the exactitude of the reality depicted in the trilogy.
To conclude, Lourdes, Rome, and Paris are as important as the previous novels of Zola both for the accurate documentation on which they are based and for the distinguished aesthetic qualities that they display. Last but not least, Pierre and Marie’s sons will be the protagonists of the author’s utopian novels, Les Quatre Évangiles (The Four Gospels), the tetralogy that was unfinished because of his sudden death.
Bu makale, Nazi işgali altındaki Paris'in üç şiirde yer alan imgelerde nasıl eanlandırıldıgını ar... more Bu makale, Nazi işgali altındaki Paris'in üç şiirde yer alan imgelerde nasıl eanlandırıldıgını araştırmaktadır. Paul Eluard'ın Courage (Cesaret), Andre Chenneviere'in Paris Occupe (Paris İşgal Altında) ve Robert Desnos'un Le VeUleur du Pont-Au-Change (Pont-Au-Change Bekçisi) adlı şiirleri bu amaçla ineelenmiştir.Y enilen ama onurunu ve direncini yitirmeyen bir kenti anlatan bu üç şiir, II. Dünya Savaşı sırasında Nazi işgaline ugrayan Paris'i birbirine çok benzeyen imgelerle resmetmektedir. Üç ozan da Nazi vahşetinin hüküm sürdügü kenti, açlık, sefalet ve eziyet çeken mutsuz sakinleriyle çizmekte, ancak yarattıkları ışıklı imgelerle ve işledikleri aydınlık gelecek temalarıyla, hemşehrilerinin kurtuluş umutlarını ve direnme azimlerini anlatmaktadırlar. Bu üç direniş şiirindeki imgeler birbirlerinin içinde erimekte, bir kurtuluş destanının adeta bir bölümünü oluşturmaktadırlar.
Frankofoni, Revue d'études et recherches francophones, 2021
DEUX ZOLAS : ROMANCIER EXPÉRIMENTAL ET SUJET D’UNE
EXPÉRIMENTATION
Dans Thérèse Raquin (1867), so... more DEUX ZOLAS : ROMANCIER EXPÉRIMENTAL ET SUJET D’UNE
EXPÉRIMENTATION
Dans Thérèse Raquin (1867), son premier grand roman, Zola décrit un homme et une femme conduits au meurtre par leur “instinct”, en étudiant “les fatalités de leur chair” à l’instar des “chirurgiens” qui dissèquent des “cadavres”. Zola est notamment connu pour son cycle romanesque Les Rougon – Macquart, Histoire naturelle et sociale d’une famille sous le Second Empire (1871-1893), où il représente toutes les classes sociales sous Napoléon III suivant le coup d’État de 1851.
Cette œuvre reflète son ambition de fonder une esthétique sui generis sur une base scientifique. Dans les manuscrits préparatoires du cycle, il se trouve des notes tirées de quelque vingt-cinq œuvres scientifiques comprenant les domaines de biologie, médecine et psychologie, par exemple les travaux sur l’hérédité du Dr. Prosper Lucas. Zola présente sa théorie littéraire dans son Roman
expérimental (1880) où il prétend imiter L’Introduction à l’étude de la médecine expérimentale du Dr. Claude Bernard. Dans Lourdes de sa trilogie des Trois Villes (1893-1898), il explique des miracles médicaux en les reposant sur la thèse de “faith-healing” (la foi qui guérit) lancée par le Dr. Charcot, précurseur de la neurologie et maître des grands neurologues comme S. Freud et G. de la Tourette. Dans son dernier cycle Quatre Évangiles (1899-1903), Zola crée une utopie qui ne s’accorde guère avec sa méthode scientifique. Néanmoins, le Travail de cette tétralogie, tout comme Paris du cycle précédent, est un panégyrique du savant. Zola est soumis, pendant près d’un an, à une enquête médico-psychologique effectuée par Édouard Toulouse, médecin en chef d’un asile et directeur d’un laboratoire de psychologie expérimentale. En 1896, au nom de la “vérité”, son “unique amour”, Zola accepte la publication des résultats de l’enquête dans un livre où ses défaillances et faiblesses physiques et psychologiques, en passant par la fréquence urinaire jusqu’aux obsessions et phobies sont révélées. Le présent ravail aborde l’inclination d’Émile Zola pour la science, non seulement comme un romancier naturaliste, mais aussi et surtout comme un
homme célèbre qui consentit à être le sujet d’une recherche scientifique. Voici Zola qui croit en la science, l’unique voie, selon lui, qui mène au bonheur. Mots-clés: Zola, science et littérature, naturalisme, roman expérimental, enquête médicopsychologique, Édouard Toulouse, sujet d’expérimentation, génie et neuropathie
TWO ZOLAS: EXPERIMENTAL NOVELIST AND SUBJECT OF AN EXPERIMENT
In Thérèse Raquin (1867), known to be his first great novel, Zola describes a man and a womandriven to murder by instinct, analysing them in their “flesh”, like “surgeons” dissecting “cadavers”. Zola is mostly known for his family saga Les Rougon – Macquart, Histoire naturelle et sociale d’une famille sous le Second empire - Natural and social history of a family under the Second Empire, published between 1871-1893, in which he represents all social classes during the reign of Napoleon III following the coup d’etat of 1851. This work reflects the author’s ambition to found his own aesthetics on a scientific basis. The preparatory manuscripts for this saga contain notes from at least twenty-five works on biology, medicine and psychology, e.g. Dr. Prosper Lucas’ work on heredity. Zola theoreticises his literary naturalism in Roman expérimental – Experimental novel (1880) in which he claims imitating Dr. Claude Bernard’s Introduction à la médicine expérimentale.
In Lourdes from his trilogy of Trois Villes – Three Cities (1893-1898), he explains medical miracles through faith-healing thesis instigated by Dr. Charchot, a pioneering neurologist who is also known to be S. Freud’s and G. de la Tourette’s teacher. Zola’s last cycle, Quatre Évangiles - Four
Gospels (1899-1903), in contrast with his scientific method, creates a utopia. Nevertheless, Travail - Labour of the tetralogy, just as Paris of the preceding cycle, distinguishes as a panegyric of men of sciences. Zola endures, for about a year, a medico-psychological enquiry made by Dr.
Édouard Toulouse, the Chief Medical Officer of an asylum and the Director of the Laboratory of Experimental Psychology then. In 1896, in the name of “truth”, his “unique love”, Zola consents to the publication of the results in a book in which his physical and psychological weaknesses, from urinating problems to obsessions and phobias are revealed. This article approaches Émile Zola’s inclination to science not only as an author known to be the leading exponent of literary naturalism
but also as a celebrity who accepts to be a human subject in an experiment. This indicates Zola’s belief in science, the only way leading to happiness for him.
Keywords: Zola, science and literature, naturalism, experimental novel, medico-psychological
research, Édouard Toulouse, test subject, genius and neuropathy
Frankofoni, Revue d'études et recherches francophones 37, 2020
Les relations entre Cézanne et Zola, deux amis très proches dès leur adolescence comme camarades ... more Les relations entre Cézanne et Zola, deux amis très proches dès leur adolescence comme camarades de collège, commencent à se refroidir vers la fin de leur quarantaine. Pendant plus d'un siècle, nombreux sont les critiques et les historiens d'art qui pensent que L'OEuvre de Zola est à l'origine d'une rupture catégorique, un argument réfuté par la découverte récente d'une lettre de Cézanne destinée à son ami. Certes, les personnages du roman ainsi que beaucoup d'événements s'inspirent de la réalité. Est-il alors possible d'appréhender exactement Cézanne chez Claude Lantier, peintre talentueux mais raté du roman ou bien l'auteur lui-même chez Pierre Sandoz, romancier réussi? Quels sont les traits du roman qui convergent avec le réel et qui en divergent? Est-ce que cette rupture est un mythe créé exprès par certains biographes, surtout les conservateurs pour stigmatiser Zola? Toutefois, l'impact du roman est tellement grand que, même le film intitulé Cézanne et moi qui semble vouloir acquiter Zola des accusations d'ingratitude et de vanité, confond, de temps en temps, la vie et le roman. Le présent article essaie de différer le réel du fictif dans le roman et dans le film. Enfin, il ne faut pas non plus négliger le côté esthétique de L'OEuvre qui est en même temps une réflèxion profonde sur l'art et sur l'état d'âme de l'artiste face à sa création.
Frankofoni. Revue d'études et recherches francophones. 35., 2019
Tout comme ses romans, bien des récits brefs zoliens portent sur la mort quelles que soient ses o... more Tout comme ses romans, bien des récits brefs zoliens portent sur la mort quelles que soient ses origines. Le présent article étudie deux nouvelles d'Émile Zola abordant les morts violentes : Pour une nuit d'amour et Naïs Micoulin. Dans la première, il s'agit d'un meurtre accidentel commis par une jeune aristocrate qui veut se débarrasser du corps de son amant, fils de domestique. Cet incident provoquera une autre mort précoce, le suicide du protagoniste qui accepte d'aider la jeune fille pour une nuit d'amour. La deuxième a, pour sujet, le parricide prémédité et déguisé en catastrophe naturelle par une jeune paysanne, amoureuse du fils du patron dont elle veut sauver la vie. En fait, Naïs est victime de la violence paternelle. Ces histoires naturelles et sociales comprennent l'effet de l'hérédité et du milieu sur les comportements humains, et une approche critique quant à la discrimination sociale. S'ajoute au naturalisme littéraire, l'oeuvre de l'artiste qu'est Zola qui dépeint des espaces riches en images. Toutes les deux, tant par la forme que par le fond, sont des oeuvres typiquement zoliennes. Questions à la Zola: How to die, how to kill ? Death, regardless of its origin, is one of the great topics of Zola's short stories as well as of his novels. This essay analyses two short stories in which Zola deals with violent deaths. For a love night is about a noble young girl who has accidentally killed her lover who is the son of the chambermaid. This incident provokes the suicide of the young protagonist who helps her get rid of the corpse just for a love night. As to Naïs Micoulin, it is about a premeditated murder. Naïs, a young peasant who has a love affair with the son of the landlord, helps activate a landslide which will kill her father, in order both to save her lover's life menaced by the old man, and to take revenge of the violence she has been suffering for a long time. These natural and social histories which comprise the influence of heredity and milieu on human behaviours are critical approaches to social discrimination. The literary naturalism goes together with Zola's work as an artist who depicts spaces rich in imagery. These two short stories, both by form and substance are very characteristic Zola works.
Frankofoni. Revue d'études et recherches francophones. 34, 2019
CÉZANNE ET ZOLA : HISTOIRE D’UNE AMITIÉ
Cézanne et Zola sont inséparables dès leur adolescence à ... more CÉZANNE ET ZOLA : HISTOIRE D’UNE AMITIÉ
Cézanne et Zola sont inséparables dès leur adolescence à Aix comme camarades de collège. Leur amitié laisse de profondes trâces sur la vie et l'oeuvre de chacun des deux génies. La correspondance des deux jeunes gens, à la suite de l'installation de Zola à Paris, témoigne de leur relation fraternelle et révèle leur conception de l'art. Cézanne vient travailler à Paris quelques années plus tard mais il ne se fait pas un nom, aussi tôt que Zola. Tout en essayant de se frayer une carrière littéraire, ce dernier s'engage aussi, comme critique d'art, dans la défense des artistes exclus des honneurs académiques, tels que Manet et les jeunes artistes qui se groupent autour de lui. Cézanne, lui aussi refusé au Salon, expose parfois avec ces derniers stigmatisés du surnom d'impressionistes et Zola ne manque pas de le soutenir publiquement. En 1886, Zola publie L'Œuvre, où il aborde la tragédie d'un peintre raté quoique talentueux. Zola envoie ce volume à Cézanne, comme à l'accoutumé, et Cézanne lui écrit une lettre de remerciement. De nombreux biographes avancent que la lettre de 1886 est celle d'une rupture, Cézanne s'étant fâché contre Zola. Or, une lettre trouvée en 2013, où Cézanne remercie Zola de l'envoi d'un nouveau volume en fin 1887 refute cet argument. Mots-clés: XIX e siècle, Cézanne, Zola, amitié, Salon, impressionistes, L'Œuvre, littérature et art.
CÉZANNE AND ZOLA : HISTORY OF A FRIENDSHIP Cézanne and Zola are inseparable friends since their adolescence in Aix as school-mates. This friendship has a profound impact on the works and the lives of both of the geniuses. Their correspondence after Zola's moving to Paris reveals their brotherhood as well as their conception of art. A few years later, Cézanne comes to Paris but he cannot make his name as early as Zola did. The latter, while trying hard to work his way up to fame in literature, defends also Manet and his younger friends, as an art critic, all excluded from academic honours. Meanwhile he publicly supports his Aixois friend, too. Cézanne, whose paintings are also rejected by the Salon jury, occasionally exposes together with these young artists who are ridiculed and nicknamed as impressionists. In 1886, Zola publishes L'Œuvre, in which he focuses on the tragic life of a talented but unfortunate artist. He sends his new novel to Cézanne, as usual, who replies him with a short letter of appreciation. According to many biographers, this is a break-off letter because it has been known to be the last one. However, a new letter of Cézanne's, found in 2013 and dated 1887, in which he thanks Zola for sending him his new volume, defeats this argument.
Actes du Colloque international "Les Passeurs: Agents intellectuels et artistiques entre la France et la Turquie", pp.163-168, Jul 10, 2015
Intervention portant sur deux traducteurs prolifiques, Hamdi Varoğlu (traducteur de Zola) et Sâmi... more Intervention portant sur deux traducteurs prolifiques, Hamdi Varoğlu (traducteur de Zola) et Sâmih Tiryakioğlu. Les Annexes constituent d'œuvres de langue française traduites par Varoğlu et Tiryakioğlu.
Promete’nin Işığında Bir Ömür: Vecihi Timuroğlu. s.119-127., 2011
Vecihi Timuroğlu armağan kitabında bölüm.
Kitap, Emile Zola'nın bazı öykülerindeki ölüm izleğini ele alıyor; davranışları, töreleri, uzaml... more Kitap, Emile Zola'nın bazı öykülerindeki ölüm izleğini ele alıyor; davranışları, töreleri, uzamları inceliyor.
Livre en turc abordant le thème de la mort dans quelques-unes des nouvelles de Zola, comportements, mœurs, espaces etc.
LITTERA Edebiyat Yazıları 30, (Revue d’études et recherches sur les littératures du monde /Journal for the Study and Research of World Literatures 30) pp.41-48., 2012
Emek romanı üzerine düşünceler : II. Crêcherie ya da umut doğarken
LITTERA Edebiyat Yazıları 26 (Revue d’études et recherches sur les littératures du monde /Journal for the Study and Research of World Literatures 26) pp. 39-51., 2010
Gazi Üniversitesi Gazi Eğitim Fakültesi Dergisi, C.23/1, ( GUJGEF 23/1) pp. 209-218, 2003
Stendhal, uzun yıllar yaşadığı İtalya'ya derin bir aşkla bağlanmış ve mezar taşına adının "Milano... more Stendhal, uzun yıllar yaşadığı İtalya'ya derin bir aşkla bağlanmış ve mezar taşına adının "Milano'lu Errico Beyle" olarak yazılmasını dilemiştir. Ünlü Fransız yazarın İtalya'yı bu denli sevmesinin bir nedeni İtalyan kadınlarla yaşadığı tutkulu aşklarsa, diğeri, çok sevdiği annesini küçük yaşta yitirmesi ve onun ölümünden sorumlu tuttuğu babasıyla olan kan bağını yadsımak amacıyla yeni bir kimlik aramaya başlamasıdır. Yazar, kendisini yalnızca annesinin soyundan geliyor gibi duyumsamış, zaman içinde de annesinin atalarının İtalya'dan geldiğine inanmıştır.
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi C. 19 ( Journal of Faculty of Letters V.19), pp. 181-195. http://www.edebiyatdergisi. <hacettepe.edu.tr/index.php/EFD/article/view/818/581>, 2002
Casuslukla suçlanan Yüzbaşı Dreyfus yaşam boyu hapis cezasını çekmek üzere 1895'te Şeytan Adası'n... more Casuslukla suçlanan Yüzbaşı Dreyfus yaşam boyu hapis cezasını çekmek üzere 1895'te Şeytan Adası'na gönderilmiştir. Mahkumun Fransa'da yaygınlaşan Yahudi düşmanlığının kurbanı olduğunu anlayan Emile Zola, davanın yeniden görülmesi için savaşır. La Verite en Marche (Gerçek Yürüyor) adlı kitapta topladığı yazılarıyla insanlık ve yurttaşlık görevini yerine getiren Zola aynı zamanda değerli bir yazınsal yapıt bırakmıştır. Bu makale, Zola'nın yapıtını tarihsel gerçeklere koşut olarak incelerken, yazarın gerçek ve adalet kavramlarını bir yazınsal yapıtın kişileri olarak ele alışındaki ustalığı vurguluyor.
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, C.18/1 ( Journal of Faculty of Letters V.18), pp. 117-130., 2001
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du primaire et du secondaire. Ce département fut, en même temps, le berceau d’un foisonnement intellectuel et culturel avec ses éminent.e.s enseignant.e.s et diplômé.e.s. Les années suivantes virent se fonder de nouveaux départements sur le modèle de Gazi, qui furent attachés à des universités après 1982. De nos jours, il se trouve dix départements de FLE, tous ayant le même programme d’études. Malgré le déclin dans l’enseignement du français provenant des changements des politiques
éducatives, il y a un renouveau chez les enseignant.e.s qui ouvre sur les horizons d’espoir.
Cet article aborde La Conquête de Plassans de Zola (1874), quatrième volume des RougonMacquart. De nos jours, moins connu que beaucoup d’autres romans du cycle, le livre fut l’objet d’éloges de grands auteurs de l’époque. Il raconte la tragédie d’un couple dans le contexte de la
possession d’une maison et d’une ville par un prêtre qui n’est qu’un agent du gouvernement de Napoléon III. Il s’agit de l’histoire naturelle et sociale d’une famille, et de l’histoire politique de la France sous le second Empire. Le roman se repose, d’une part, sur les thèses de l’hérédité naturelle, et analyse, d’autre part, la structure politico-historique de la France des années suivant le coup d’État. La folie se présente comme une synthèse du contexte historique et de la tendance innée des époux à des pathologies psychiatriques. Zola brosse la rivalité et la collaboration entre
les classes dirigeantes, des intrigues combinées et des tourments infligés au nom du pouvoir. Il dénonce la corruption sociale comme source et fruit indispensables de la politique de l’époque. Si les protagonistes, un couple de deux cousins, sont enclins à des troubles mentaux, ce qui provoque
la folie, c’est le contexte social qui aboutit à la perte du contrôle de l’espace qui était le leur. Zola y aborde l’histoire sociale d’une optique dynamique, tout en soulignant les rapports dialectiques entre
l’homme malade et la société malade. Il dénonce les liens entre la religion et la politique et étudie la notion de morale chez les classes dirigeantes ainsi que chez le peuple. Il faut aussi noter le style de Zola qui est à la fois pathétique et satirique et la richesse de ses images créées d’un bout à l’autre de l’histoire. Par conséquent, c’est un roman à lire et relire pour commémorer la mémoire d’Émile Zola au 120e anniversaire de sa disparition.
Mots-clés: coup d’État, religion et pouvoir, ambition, roman expérimental, hérédité et milieu, espace, pathologie mentale, pathologie sociale
AMBITION, POWER, LUNACY IN PLASSANS
This article studies La Conquête de Plassans (The Conquest of Plassans) of Émile Zola (1874), forth volume of the Rougon-Macquart series. Less known today compared to many other novels of the series, the book was once praised by great authors of the epoch. It is the tragedy of a married
couple in the context of the capture of a house and a city by a catholic priest who is an undercover agent of the government of the Emperor Napoleon III. The book is about the natural and social history of a family, and the French political history under the second empire, thus it is based both on natural heredity theory and the politico-historical structure of the coup d’Etat period. As to the lunacy, it is observed as a synthesis of the historical context and the couple’s innate tendency toward psychiatric disorders. Zola portrays the rivalry and collaboration between ruling classes, conspiracies and torments caused for the sake of power. He denounces social corruption both as indispensable cause and effect of the political corruption of the period. Though the protagonists are prone to mental disorders due to the genes inherited from their common grandmother, it is the social context ending in the loss of control on their own space which provokes the lunacy. The author treats social history through a dynamic perspective and highlights the dialectical connexions between human and social pathologies. He divulges the relations between religion and politics and approaches the notion of morality of the ruling classes as well as the common people. The style of Zola, alternating between the pathetic and the satiric, as well as the richness of the images are remarkable. Consequently, this is a novel to be read and re-read to commemorate Émile Zola on the 120th anniversary of his passing.
Keywords: coup d’Etat, religion and power, ambition, experimental novel, heredity and milieu, space, mental pathology, social pathology
In his second cycle of novels Les Trois Villes - Three Cities: Lourdes (1894), Rome (1896) and Paris (1898), Zola has for a protagonist a Catholic priest named Pierre Froment. The reader visits the three cities of the fin de siècle through the eyes of Pierre and witnesses his loss of faith. Some of the topics covered by this cycle include his visit to Lourdes and his thoughts about the pilgrimage and miracles; his bitter feelings on the exploitation of the ill and hopeless; his New Rome, a book on the primitive purity of Christianity and its condemnation by the Congregation of Index; his journey to Rome and his observations on the papacy, especially on the political and financial ambitions of the high clergy; and his reflections on the social and political corruption, iniquity, and rise of violence in Paris. Zola debates, through the series, many social issues contemporary to the production of these novels. These include infamous financial scandals, unemployment, anarchic attacks, and urban renewal projects carried out to the detriment of both the environment and working-class residents.
The trilogy is a basis for discussion of dogmas, the vows of celibacy and chastity, the natural inclination for love and procreation, and the virtue of science and labour. Furthermore, the author emphasizes his disapproval both of terrorism and the death penalty and underlines the absurdity of the conflicts between the theoreticians of numerous social doctrines.
Each novel based on a city describes two cities separated by class conflict. These novels are not only about Pierre’s journeys and his wanderings inside the three cities, but they also reveal his spiritual, sentimental, and intellectual path. Guillaume, the priest’s scientist brother, and his family members become, in time, his role models in his research for truth and justice. The women around him also have an important role in his journey. First of all, there are two devout women: his mother, who made him choose the clerical state, and his platonic childhood love, a paralyzed girl whose faith-healing makes him think about miracles. Finally, two independent women help him find his new path: the grandmother of his nephews, an exemplary character of strength and honour, and Marie, an educated young girl with whom he falls in love. The cycle ends with Pierre replacing the notion of charity with that of justice and leaving the Church. If Pierre cannot cure all ills during his travels between the three cities and his comings and goings between two urban poles, he will have, at least, given up the double life of an agnostic priest that he had led just to be able to heal some social injury.
Today, the last novels of Zola, especially those of the trilogy of the cities, are not as well-known as his Rougon-Macquart books. Zola critics explain this unfamiliarity with various and sometimes contradictory reasons: the author’s being a celebrity whose popularity might have advanced his work; his becoming an object of hate, especially after the Dreyfus Affair; his severe criticisms of the iniquities of the Third Republic regime; and some scholars’ finding the last novels idealist and didactic, therefore incompatible with Zola’s naturalism and his conception of the experimental novel.
In fact, although Zola explicitly exposes his own ideas and feelings in these novels, it is also important to note that they are based as much, perhaps more on reality than his previous works. It isn’t about a recent reality like that of The Natural and Social History of a Family under the Second Empire; on the contrary, the events that take place in these cities and the author’s writing about them are almost simultaneous. Zola depicts Lourdes and Rome according to his travel notes. As for Paris, he knows his birthplace very well, as attested by some of his previous works, famous especially for their urban descriptions. The preparatory notes for the novels as well as the author’s correspondence also witness the exactitude of the reality depicted in the trilogy.
To conclude, Lourdes, Rome, and Paris are as important as the previous novels of Zola both for the accurate documentation on which they are based and for the distinguished aesthetic qualities that they display. Last but not least, Pierre and Marie’s sons will be the protagonists of the author’s utopian novels, Les Quatre Évangiles (The Four Gospels), the tetralogy that was unfinished because of his sudden death.
EXPÉRIMENTATION
Dans Thérèse Raquin (1867), son premier grand roman, Zola décrit un homme et une femme conduits au meurtre par leur “instinct”, en étudiant “les fatalités de leur chair” à l’instar des “chirurgiens” qui dissèquent des “cadavres”. Zola est notamment connu pour son cycle romanesque Les Rougon – Macquart, Histoire naturelle et sociale d’une famille sous le Second Empire (1871-1893), où il représente toutes les classes sociales sous Napoléon III suivant le coup d’État de 1851.
Cette œuvre reflète son ambition de fonder une esthétique sui generis sur une base scientifique. Dans les manuscrits préparatoires du cycle, il se trouve des notes tirées de quelque vingt-cinq œuvres scientifiques comprenant les domaines de biologie, médecine et psychologie, par exemple les travaux sur l’hérédité du Dr. Prosper Lucas. Zola présente sa théorie littéraire dans son Roman
expérimental (1880) où il prétend imiter L’Introduction à l’étude de la médecine expérimentale du Dr. Claude Bernard. Dans Lourdes de sa trilogie des Trois Villes (1893-1898), il explique des miracles médicaux en les reposant sur la thèse de “faith-healing” (la foi qui guérit) lancée par le Dr. Charcot, précurseur de la neurologie et maître des grands neurologues comme S. Freud et G. de la Tourette. Dans son dernier cycle Quatre Évangiles (1899-1903), Zola crée une utopie qui ne s’accorde guère avec sa méthode scientifique. Néanmoins, le Travail de cette tétralogie, tout comme Paris du cycle précédent, est un panégyrique du savant. Zola est soumis, pendant près d’un an, à une enquête médico-psychologique effectuée par Édouard Toulouse, médecin en chef d’un asile et directeur d’un laboratoire de psychologie expérimentale. En 1896, au nom de la “vérité”, son “unique amour”, Zola accepte la publication des résultats de l’enquête dans un livre où ses défaillances et faiblesses physiques et psychologiques, en passant par la fréquence urinaire jusqu’aux obsessions et phobies sont révélées. Le présent ravail aborde l’inclination d’Émile Zola pour la science, non seulement comme un romancier naturaliste, mais aussi et surtout comme un
homme célèbre qui consentit à être le sujet d’une recherche scientifique. Voici Zola qui croit en la science, l’unique voie, selon lui, qui mène au bonheur. Mots-clés: Zola, science et littérature, naturalisme, roman expérimental, enquête médicopsychologique, Édouard Toulouse, sujet d’expérimentation, génie et neuropathie
TWO ZOLAS: EXPERIMENTAL NOVELIST AND SUBJECT OF AN EXPERIMENT
In Thérèse Raquin (1867), known to be his first great novel, Zola describes a man and a womandriven to murder by instinct, analysing them in their “flesh”, like “surgeons” dissecting “cadavers”. Zola is mostly known for his family saga Les Rougon – Macquart, Histoire naturelle et sociale d’une famille sous le Second empire - Natural and social history of a family under the Second Empire, published between 1871-1893, in which he represents all social classes during the reign of Napoleon III following the coup d’etat of 1851. This work reflects the author’s ambition to found his own aesthetics on a scientific basis. The preparatory manuscripts for this saga contain notes from at least twenty-five works on biology, medicine and psychology, e.g. Dr. Prosper Lucas’ work on heredity. Zola theoreticises his literary naturalism in Roman expérimental – Experimental novel (1880) in which he claims imitating Dr. Claude Bernard’s Introduction à la médicine expérimentale.
In Lourdes from his trilogy of Trois Villes – Three Cities (1893-1898), he explains medical miracles through faith-healing thesis instigated by Dr. Charchot, a pioneering neurologist who is also known to be S. Freud’s and G. de la Tourette’s teacher. Zola’s last cycle, Quatre Évangiles - Four
Gospels (1899-1903), in contrast with his scientific method, creates a utopia. Nevertheless, Travail - Labour of the tetralogy, just as Paris of the preceding cycle, distinguishes as a panegyric of men of sciences. Zola endures, for about a year, a medico-psychological enquiry made by Dr.
Édouard Toulouse, the Chief Medical Officer of an asylum and the Director of the Laboratory of Experimental Psychology then. In 1896, in the name of “truth”, his “unique love”, Zola consents to the publication of the results in a book in which his physical and psychological weaknesses, from urinating problems to obsessions and phobias are revealed. This article approaches Émile Zola’s inclination to science not only as an author known to be the leading exponent of literary naturalism
but also as a celebrity who accepts to be a human subject in an experiment. This indicates Zola’s belief in science, the only way leading to happiness for him.
Keywords: Zola, science and literature, naturalism, experimental novel, medico-psychological
research, Édouard Toulouse, test subject, genius and neuropathy
Cézanne et Zola sont inséparables dès leur adolescence à Aix comme camarades de collège. Leur amitié laisse de profondes trâces sur la vie et l'oeuvre de chacun des deux génies. La correspondance des deux jeunes gens, à la suite de l'installation de Zola à Paris, témoigne de leur relation fraternelle et révèle leur conception de l'art. Cézanne vient travailler à Paris quelques années plus tard mais il ne se fait pas un nom, aussi tôt que Zola. Tout en essayant de se frayer une carrière littéraire, ce dernier s'engage aussi, comme critique d'art, dans la défense des artistes exclus des honneurs académiques, tels que Manet et les jeunes artistes qui se groupent autour de lui. Cézanne, lui aussi refusé au Salon, expose parfois avec ces derniers stigmatisés du surnom d'impressionistes et Zola ne manque pas de le soutenir publiquement. En 1886, Zola publie L'Œuvre, où il aborde la tragédie d'un peintre raté quoique talentueux. Zola envoie ce volume à Cézanne, comme à l'accoutumé, et Cézanne lui écrit une lettre de remerciement. De nombreux biographes avancent que la lettre de 1886 est celle d'une rupture, Cézanne s'étant fâché contre Zola. Or, une lettre trouvée en 2013, où Cézanne remercie Zola de l'envoi d'un nouveau volume en fin 1887 refute cet argument. Mots-clés: XIX e siècle, Cézanne, Zola, amitié, Salon, impressionistes, L'Œuvre, littérature et art.
CÉZANNE AND ZOLA : HISTORY OF A FRIENDSHIP Cézanne and Zola are inseparable friends since their adolescence in Aix as school-mates. This friendship has a profound impact on the works and the lives of both of the geniuses. Their correspondence after Zola's moving to Paris reveals their brotherhood as well as their conception of art. A few years later, Cézanne comes to Paris but he cannot make his name as early as Zola did. The latter, while trying hard to work his way up to fame in literature, defends also Manet and his younger friends, as an art critic, all excluded from academic honours. Meanwhile he publicly supports his Aixois friend, too. Cézanne, whose paintings are also rejected by the Salon jury, occasionally exposes together with these young artists who are ridiculed and nicknamed as impressionists. In 1886, Zola publishes L'Œuvre, in which he focuses on the tragic life of a talented but unfortunate artist. He sends his new novel to Cézanne, as usual, who replies him with a short letter of appreciation. According to many biographers, this is a break-off letter because it has been known to be the last one. However, a new letter of Cézanne's, found in 2013 and dated 1887, in which he thanks Zola for sending him his new volume, defeats this argument.
Livre en turc abordant le thème de la mort dans quelques-unes des nouvelles de Zola, comportements, mœurs, espaces etc.
du primaire et du secondaire. Ce département fut, en même temps, le berceau d’un foisonnement intellectuel et culturel avec ses éminent.e.s enseignant.e.s et diplômé.e.s. Les années suivantes virent se fonder de nouveaux départements sur le modèle de Gazi, qui furent attachés à des universités après 1982. De nos jours, il se trouve dix départements de FLE, tous ayant le même programme d’études. Malgré le déclin dans l’enseignement du français provenant des changements des politiques
éducatives, il y a un renouveau chez les enseignant.e.s qui ouvre sur les horizons d’espoir.
Cet article aborde La Conquête de Plassans de Zola (1874), quatrième volume des RougonMacquart. De nos jours, moins connu que beaucoup d’autres romans du cycle, le livre fut l’objet d’éloges de grands auteurs de l’époque. Il raconte la tragédie d’un couple dans le contexte de la
possession d’une maison et d’une ville par un prêtre qui n’est qu’un agent du gouvernement de Napoléon III. Il s’agit de l’histoire naturelle et sociale d’une famille, et de l’histoire politique de la France sous le second Empire. Le roman se repose, d’une part, sur les thèses de l’hérédité naturelle, et analyse, d’autre part, la structure politico-historique de la France des années suivant le coup d’État. La folie se présente comme une synthèse du contexte historique et de la tendance innée des époux à des pathologies psychiatriques. Zola brosse la rivalité et la collaboration entre
les classes dirigeantes, des intrigues combinées et des tourments infligés au nom du pouvoir. Il dénonce la corruption sociale comme source et fruit indispensables de la politique de l’époque. Si les protagonistes, un couple de deux cousins, sont enclins à des troubles mentaux, ce qui provoque
la folie, c’est le contexte social qui aboutit à la perte du contrôle de l’espace qui était le leur. Zola y aborde l’histoire sociale d’une optique dynamique, tout en soulignant les rapports dialectiques entre
l’homme malade et la société malade. Il dénonce les liens entre la religion et la politique et étudie la notion de morale chez les classes dirigeantes ainsi que chez le peuple. Il faut aussi noter le style de Zola qui est à la fois pathétique et satirique et la richesse de ses images créées d’un bout à l’autre de l’histoire. Par conséquent, c’est un roman à lire et relire pour commémorer la mémoire d’Émile Zola au 120e anniversaire de sa disparition.
Mots-clés: coup d’État, religion et pouvoir, ambition, roman expérimental, hérédité et milieu, espace, pathologie mentale, pathologie sociale
AMBITION, POWER, LUNACY IN PLASSANS
This article studies La Conquête de Plassans (The Conquest of Plassans) of Émile Zola (1874), forth volume of the Rougon-Macquart series. Less known today compared to many other novels of the series, the book was once praised by great authors of the epoch. It is the tragedy of a married
couple in the context of the capture of a house and a city by a catholic priest who is an undercover agent of the government of the Emperor Napoleon III. The book is about the natural and social history of a family, and the French political history under the second empire, thus it is based both on natural heredity theory and the politico-historical structure of the coup d’Etat period. As to the lunacy, it is observed as a synthesis of the historical context and the couple’s innate tendency toward psychiatric disorders. Zola portrays the rivalry and collaboration between ruling classes, conspiracies and torments caused for the sake of power. He denounces social corruption both as indispensable cause and effect of the political corruption of the period. Though the protagonists are prone to mental disorders due to the genes inherited from their common grandmother, it is the social context ending in the loss of control on their own space which provokes the lunacy. The author treats social history through a dynamic perspective and highlights the dialectical connexions between human and social pathologies. He divulges the relations between religion and politics and approaches the notion of morality of the ruling classes as well as the common people. The style of Zola, alternating between the pathetic and the satiric, as well as the richness of the images are remarkable. Consequently, this is a novel to be read and re-read to commemorate Émile Zola on the 120th anniversary of his passing.
Keywords: coup d’Etat, religion and power, ambition, experimental novel, heredity and milieu, space, mental pathology, social pathology
In his second cycle of novels Les Trois Villes - Three Cities: Lourdes (1894), Rome (1896) and Paris (1898), Zola has for a protagonist a Catholic priest named Pierre Froment. The reader visits the three cities of the fin de siècle through the eyes of Pierre and witnesses his loss of faith. Some of the topics covered by this cycle include his visit to Lourdes and his thoughts about the pilgrimage and miracles; his bitter feelings on the exploitation of the ill and hopeless; his New Rome, a book on the primitive purity of Christianity and its condemnation by the Congregation of Index; his journey to Rome and his observations on the papacy, especially on the political and financial ambitions of the high clergy; and his reflections on the social and political corruption, iniquity, and rise of violence in Paris. Zola debates, through the series, many social issues contemporary to the production of these novels. These include infamous financial scandals, unemployment, anarchic attacks, and urban renewal projects carried out to the detriment of both the environment and working-class residents.
The trilogy is a basis for discussion of dogmas, the vows of celibacy and chastity, the natural inclination for love and procreation, and the virtue of science and labour. Furthermore, the author emphasizes his disapproval both of terrorism and the death penalty and underlines the absurdity of the conflicts between the theoreticians of numerous social doctrines.
Each novel based on a city describes two cities separated by class conflict. These novels are not only about Pierre’s journeys and his wanderings inside the three cities, but they also reveal his spiritual, sentimental, and intellectual path. Guillaume, the priest’s scientist brother, and his family members become, in time, his role models in his research for truth and justice. The women around him also have an important role in his journey. First of all, there are two devout women: his mother, who made him choose the clerical state, and his platonic childhood love, a paralyzed girl whose faith-healing makes him think about miracles. Finally, two independent women help him find his new path: the grandmother of his nephews, an exemplary character of strength and honour, and Marie, an educated young girl with whom he falls in love. The cycle ends with Pierre replacing the notion of charity with that of justice and leaving the Church. If Pierre cannot cure all ills during his travels between the three cities and his comings and goings between two urban poles, he will have, at least, given up the double life of an agnostic priest that he had led just to be able to heal some social injury.
Today, the last novels of Zola, especially those of the trilogy of the cities, are not as well-known as his Rougon-Macquart books. Zola critics explain this unfamiliarity with various and sometimes contradictory reasons: the author’s being a celebrity whose popularity might have advanced his work; his becoming an object of hate, especially after the Dreyfus Affair; his severe criticisms of the iniquities of the Third Republic regime; and some scholars’ finding the last novels idealist and didactic, therefore incompatible with Zola’s naturalism and his conception of the experimental novel.
In fact, although Zola explicitly exposes his own ideas and feelings in these novels, it is also important to note that they are based as much, perhaps more on reality than his previous works. It isn’t about a recent reality like that of The Natural and Social History of a Family under the Second Empire; on the contrary, the events that take place in these cities and the author’s writing about them are almost simultaneous. Zola depicts Lourdes and Rome according to his travel notes. As for Paris, he knows his birthplace very well, as attested by some of his previous works, famous especially for their urban descriptions. The preparatory notes for the novels as well as the author’s correspondence also witness the exactitude of the reality depicted in the trilogy.
To conclude, Lourdes, Rome, and Paris are as important as the previous novels of Zola both for the accurate documentation on which they are based and for the distinguished aesthetic qualities that they display. Last but not least, Pierre and Marie’s sons will be the protagonists of the author’s utopian novels, Les Quatre Évangiles (The Four Gospels), the tetralogy that was unfinished because of his sudden death.
EXPÉRIMENTATION
Dans Thérèse Raquin (1867), son premier grand roman, Zola décrit un homme et une femme conduits au meurtre par leur “instinct”, en étudiant “les fatalités de leur chair” à l’instar des “chirurgiens” qui dissèquent des “cadavres”. Zola est notamment connu pour son cycle romanesque Les Rougon – Macquart, Histoire naturelle et sociale d’une famille sous le Second Empire (1871-1893), où il représente toutes les classes sociales sous Napoléon III suivant le coup d’État de 1851.
Cette œuvre reflète son ambition de fonder une esthétique sui generis sur une base scientifique. Dans les manuscrits préparatoires du cycle, il se trouve des notes tirées de quelque vingt-cinq œuvres scientifiques comprenant les domaines de biologie, médecine et psychologie, par exemple les travaux sur l’hérédité du Dr. Prosper Lucas. Zola présente sa théorie littéraire dans son Roman
expérimental (1880) où il prétend imiter L’Introduction à l’étude de la médecine expérimentale du Dr. Claude Bernard. Dans Lourdes de sa trilogie des Trois Villes (1893-1898), il explique des miracles médicaux en les reposant sur la thèse de “faith-healing” (la foi qui guérit) lancée par le Dr. Charcot, précurseur de la neurologie et maître des grands neurologues comme S. Freud et G. de la Tourette. Dans son dernier cycle Quatre Évangiles (1899-1903), Zola crée une utopie qui ne s’accorde guère avec sa méthode scientifique. Néanmoins, le Travail de cette tétralogie, tout comme Paris du cycle précédent, est un panégyrique du savant. Zola est soumis, pendant près d’un an, à une enquête médico-psychologique effectuée par Édouard Toulouse, médecin en chef d’un asile et directeur d’un laboratoire de psychologie expérimentale. En 1896, au nom de la “vérité”, son “unique amour”, Zola accepte la publication des résultats de l’enquête dans un livre où ses défaillances et faiblesses physiques et psychologiques, en passant par la fréquence urinaire jusqu’aux obsessions et phobies sont révélées. Le présent ravail aborde l’inclination d’Émile Zola pour la science, non seulement comme un romancier naturaliste, mais aussi et surtout comme un
homme célèbre qui consentit à être le sujet d’une recherche scientifique. Voici Zola qui croit en la science, l’unique voie, selon lui, qui mène au bonheur. Mots-clés: Zola, science et littérature, naturalisme, roman expérimental, enquête médicopsychologique, Édouard Toulouse, sujet d’expérimentation, génie et neuropathie
TWO ZOLAS: EXPERIMENTAL NOVELIST AND SUBJECT OF AN EXPERIMENT
In Thérèse Raquin (1867), known to be his first great novel, Zola describes a man and a womandriven to murder by instinct, analysing them in their “flesh”, like “surgeons” dissecting “cadavers”. Zola is mostly known for his family saga Les Rougon – Macquart, Histoire naturelle et sociale d’une famille sous le Second empire - Natural and social history of a family under the Second Empire, published between 1871-1893, in which he represents all social classes during the reign of Napoleon III following the coup d’etat of 1851. This work reflects the author’s ambition to found his own aesthetics on a scientific basis. The preparatory manuscripts for this saga contain notes from at least twenty-five works on biology, medicine and psychology, e.g. Dr. Prosper Lucas’ work on heredity. Zola theoreticises his literary naturalism in Roman expérimental – Experimental novel (1880) in which he claims imitating Dr. Claude Bernard’s Introduction à la médicine expérimentale.
In Lourdes from his trilogy of Trois Villes – Three Cities (1893-1898), he explains medical miracles through faith-healing thesis instigated by Dr. Charchot, a pioneering neurologist who is also known to be S. Freud’s and G. de la Tourette’s teacher. Zola’s last cycle, Quatre Évangiles - Four
Gospels (1899-1903), in contrast with his scientific method, creates a utopia. Nevertheless, Travail - Labour of the tetralogy, just as Paris of the preceding cycle, distinguishes as a panegyric of men of sciences. Zola endures, for about a year, a medico-psychological enquiry made by Dr.
Édouard Toulouse, the Chief Medical Officer of an asylum and the Director of the Laboratory of Experimental Psychology then. In 1896, in the name of “truth”, his “unique love”, Zola consents to the publication of the results in a book in which his physical and psychological weaknesses, from urinating problems to obsessions and phobias are revealed. This article approaches Émile Zola’s inclination to science not only as an author known to be the leading exponent of literary naturalism
but also as a celebrity who accepts to be a human subject in an experiment. This indicates Zola’s belief in science, the only way leading to happiness for him.
Keywords: Zola, science and literature, naturalism, experimental novel, medico-psychological
research, Édouard Toulouse, test subject, genius and neuropathy
Cézanne et Zola sont inséparables dès leur adolescence à Aix comme camarades de collège. Leur amitié laisse de profondes trâces sur la vie et l'oeuvre de chacun des deux génies. La correspondance des deux jeunes gens, à la suite de l'installation de Zola à Paris, témoigne de leur relation fraternelle et révèle leur conception de l'art. Cézanne vient travailler à Paris quelques années plus tard mais il ne se fait pas un nom, aussi tôt que Zola. Tout en essayant de se frayer une carrière littéraire, ce dernier s'engage aussi, comme critique d'art, dans la défense des artistes exclus des honneurs académiques, tels que Manet et les jeunes artistes qui se groupent autour de lui. Cézanne, lui aussi refusé au Salon, expose parfois avec ces derniers stigmatisés du surnom d'impressionistes et Zola ne manque pas de le soutenir publiquement. En 1886, Zola publie L'Œuvre, où il aborde la tragédie d'un peintre raté quoique talentueux. Zola envoie ce volume à Cézanne, comme à l'accoutumé, et Cézanne lui écrit une lettre de remerciement. De nombreux biographes avancent que la lettre de 1886 est celle d'une rupture, Cézanne s'étant fâché contre Zola. Or, une lettre trouvée en 2013, où Cézanne remercie Zola de l'envoi d'un nouveau volume en fin 1887 refute cet argument. Mots-clés: XIX e siècle, Cézanne, Zola, amitié, Salon, impressionistes, L'Œuvre, littérature et art.
CÉZANNE AND ZOLA : HISTORY OF A FRIENDSHIP Cézanne and Zola are inseparable friends since their adolescence in Aix as school-mates. This friendship has a profound impact on the works and the lives of both of the geniuses. Their correspondence after Zola's moving to Paris reveals their brotherhood as well as their conception of art. A few years later, Cézanne comes to Paris but he cannot make his name as early as Zola did. The latter, while trying hard to work his way up to fame in literature, defends also Manet and his younger friends, as an art critic, all excluded from academic honours. Meanwhile he publicly supports his Aixois friend, too. Cézanne, whose paintings are also rejected by the Salon jury, occasionally exposes together with these young artists who are ridiculed and nicknamed as impressionists. In 1886, Zola publishes L'Œuvre, in which he focuses on the tragic life of a talented but unfortunate artist. He sends his new novel to Cézanne, as usual, who replies him with a short letter of appreciation. According to many biographers, this is a break-off letter because it has been known to be the last one. However, a new letter of Cézanne's, found in 2013 and dated 1887, in which he thanks Zola for sending him his new volume, defeats this argument.
Livre en turc abordant le thème de la mort dans quelques-unes des nouvelles de Zola, comportements, mœurs, espaces etc.