The visual novel : Emile Zola and the art of his times
著者
書誌事項
The visual novel : Emile Zola and the art of his times
Pennsylvania State University Press, c1992
大学図書館所蔵 全14件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [293]-302) and index
内容説明・目次
内容説明
The Visual Novel is the first comprehensive study of Zola based on the role of visual perception in his theories and works. The late nineteenth-century novel can be considered, in certain respects, as a visual art form. William Berg attempts to develop and implement a visual methodology for approaching the novel, while undertaking a comprehensive study of Emile Zola's twenty-novel series, Les Rougon-Macquart, and suggesting relationships between Zola's work and that of his contemporaries in painting, experimental psychology, and criticism. The author also analyzes three paintings from the impressionist period in detail and relates them to the handling of thematic content, viewpoint, and description in Zola's novels. Berg traces the impact of vision in many of the major areas of novelistic endeavor: Zola's theories stress the key role of vision in the experimental method. Optical instruments and effects, underscoring the important motif of "looking" (le regard), occupy a major place in the thematic content of Zola's novels. Viewpoint, central to Zola's program of narration objectivity, is characterized by a multiplicity of perspectives, often crossing the conventional boundaries between the spaces of narrator, character, and reader. Descriptive passages reveal a progressive, perceptual style, where the hazy impression yields to the solid, material perception of reality, embodying the crucial notion of determinism. Finally, Zola's figures, stimulated by external effects of light and color and shaped by the internal forces of fear and desire, lead us to locate the role of hallucination and visual imagination in the perceptual and creative processes. Berg then suggests parallels between Zola and other novelists of his time in each of the above areas, further demonstrating the visual nature of the cultural climate of late nineteenth-century France.
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