French-German Jew Banker Jacques de Reinach with criticisms by writer Émile François Zola

[CrackSmokeRepublican]

We need some brave Frenchman to "J'Accuse" Sarkozy of being a paid Mossad Zio-Rat... --CSR

----------
Jacques de Reinach


Baron Jacob Adolphe Reinach[1] (17 April 1840, Frankfurt - 19 November 1892, Paris), known as Jacques de Reinach was a French banker of Jewish German origin, involved in many major financial affairs of the era and finally brought down by the Panama scandal. He was the son of Clementine Oppenheim (1822–1899) and her husband Adolphe de Reinach (1814–1879), Belgian consul in Frankfurt, ennobled in Italy in 1866 and then confirmed as a noble by William I of Germany.

Banker

He settled in Paris at the end of the 1850s and in 1863 founded the banque Kohn-Reinach with his brother in law, the international financier Édouard Kohn. On 6 May 1863 he married his first cousin Fanny Emden. Their children were Henriette-Clémentine (who married Joseph Reinach), Lucien and Juliette-Maximilienne. He served in the National Guard during the siege of Paris in 1870 and was naturalised as a French citizen in 1871.

His affairs prospered with the construction of the chemins de fer de Provence and investments in Canadian Pacific in Canada. His hôtel particulier at Parc Monceau became the rendez-vous for all political, financial and artistic Paris.[2] He also bought the château de Nivillers, a village in Picardy, of which he became mayor in 1884.

Panama scandal

In 1878 he was linked with Cornelius Herz, also of German origin. Herz, after having made his fortune in the United States ...

Fictional depiction

In the 1898 novel Paris, Émile Zola based baron Duvillard on Jacques de Reinach.

Émile François Zola

Émile François Zola (French pronunciation: [e.mil zɔ.la]; 2 April 1840 – 29 September 1902)[1] was a French writer, the most important exemplar of the literary school of naturalism and an important contributor to the development of theatrical naturalism. He was a major figure in the political liberalization of France and in the exoneration of the falsely accused and convicted army officer Alfred Dreyfus, which is encapsulated in the renowned newspaper headline J'Accuse.

Literary output

More than half of Zola's novels were part of this set of 20 collectively known as Les Rougon-Macquart. Unlike Balzac who in the midst of his literary career resynthesized his work into La Comédie Humaine, Zola from the start at the age of 28 had thought of the complete layout of the series. Set in France's Second Empire, the series traces the "environmental" influences of violence, alcohol and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of a family: the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts for five generations.

As he described his plans for the series, "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world."

Although Zola and Cézanne were friends from childhood, they broke in later life over Zola's fictionalized depiction of Cézanne and the Bohemian life of painters in his novel L'Œuvre (The Masterpiece, 1886).

From 1877 with the publication of l'Assommoir, Émile Zola became wealthy, he was better paid than Victor Hugo, for example. He became a figurehead among the literary bourgeoisie and organized cultural dinners with Guy de Maupassant, Joris-Karl Huysmans and other writers at his luxurious villa in Medan near Paris after 1880. Germinal in 1885, then the three 'cities', Lourdes in 1894, Rome in 1896 and Paris in 1897, established Zola as a successful author.

The self-proclaimed leader of French naturalism, Zola's works inspired operas such as those of Gustave Charpentier, notably Louise in the 1890s. His works, inspired by the concepts of heredity (Claude Bernard), social manichaeism and idealistic socialism, resonate with those of Nadar, Manet and subsequently Flaubert.

The Dreyfus affair

Front page cover of the newspaper L'Aurore for Thursday 13 January 1898, with the letter J'Accuse...!, written by Émile Zola about the Dreyfus affair. The headline reads "I accuse! Letter to the President of the Republic".

Dreyfus affair and J'accuse (letter)

Captain Alfred Dreyfus was a Jewish artillery officer in the French army. When the French intelligence found information about someone giving the German embassy military secrets, anti-semitism seems to have caused senior officers to suspect Dreyfus, though there was no direct evidence of any wrongdoing. Dreyfus was court-martialled, convicted of treason and sent to Devil's Island in French Guiana.

Lt. Col. Georges Picquart came across evidence that implicated another officer, Ferdinand Walsin Esterhazy and informed his superiors. Rather than move to clear Dreyfus, the decision was made to protect Esterhazy and ensure the original verdict was not overturned. Major Hubert-Joseph Henry forged documents that made it seem that Dreyfus was guilty and then had Picquart assigned duty in Africa. Before leaving, Picquart told some of Dreyfus's supporters what he knew. Soon Senator August Scheurer-Kestner took up the case and announced in the Senate that Dreyfus was innocent and accused Esterhazy. The right-wing government refused new evidence to be allowed and Esterhazy was tried and acquitted. Picquart was then sentenced to 60 days in prison.

Émile Zola risked his career and more on 13 January 1898, when his "J'accuse",[2] was published on the front page of the Paris daily L'Aurore. The newspaper was run by Ernest Vaughan and Georges Clemenceau, who decided that the controversial story would be in the form of an open letter to the President, Félix Faure. Émile Zola's "J'Accuse" accused the highest levels of the French Army of obstruction of justice and antisemitism by having wrongfully convicted Alfred Dreyfus to life imprisonment on Devil's Island. The case, known as the Dreyfus affair, divided France deeply between the reactionary army and church and the more liberal commercial society. The ramifications continued for many years; on the 100th anniversary of Zola's article, France's Roman Catholic daily paper, La Croix, apologized for its antisemitic editorials during the Dreyfus Affair. As Zola was a leading French thinker, his letter formed a major turning-point in the affair.

Zola was brought to trial for criminal libel on 7 February 1898 and was convicted on 23 February and removed from the Legion of Honor. Rather than go to jail, Zola fled to England. Without even having had the time to pack a few clothes, he arrived at Victoria Station on 19 July. After his brief and unhappy residence in London, from October 1898 to June 1899, he was allowed to return in time to see the government fall.

The government offered Dreyfus a pardon (rather than exoneration), which he could accept and go free and so admit that he was guilty or face a re-trial in which he was sure to be convicted again. Although he was clearly not guilty, he chose to accept the pardon. Emile Zola said, "The truth is on the march, and nothing shall stop it."[3] In 1906, Dreyfus was completely exonerated by the Supreme Court.

The 1898 article by Émile Zola is widely marked in France as the most prominent manifestation of the new power of the intellectuals (writers, artists, academicians) in shaping public opinion, the media and the state.

Death

Gravestone of Émile Zola at cimetière Montmartre; his remains are now interred in the Panthéon.

Zola died of carbon monoxide poisoning caused by a stopped chimney. He was 62 years old. His enemies were blamed because of previous attempts on his life but nothing could be proved. (Decades later, a Parisian roofer claimed on his deathbed to have closed the chimney for political reasons).[4] Addresses of sympathy arrived from all parts of France; for a week the vestibule of his house was crowded with notable writers, scientists, artists and politicians, who came to inscribe their names in the registers. On the other hand, Zola's enemies used the opportunity to celebrate in malicious glee.[5] Thus, Henri Rochefort wrote a piece in "L'Intransigeant", claiming Zola had committed suicide, having discovered Dreyfus to be in fact guilty. Zola was initially buried in the Cimetière de Montmartre in Paris but on 4 June 1908, almost six years after his death, his remains were moved to the Panthéon, where he shares a crypt with Victor Hugo and Alexandre Dumas.

http://en.wikipedia.org/wiki/%C3%89mile_Zola

[CrackSmokeRepublican]

Emile Zola (1840-1902)

 

French novelist and critic, the founder of the Naturalist movement in literature. Zola redefined Naturalism as "Nature seen through a temperament." Among Zola's most important works is his famous Rougon-Macquart cycle (1871-1893), which included such novels as L'ASSOMMOIR (1877), about the suffering of the Parisian working-class, NANA (1880), dealing with prostitution, and GERMINAL (1885), depicting the mining industry. Zola's open letter 'J'accuse,' on January 13, 1898, reopened the case of the Jewish Captain, Alfred Dreyfus, sentenced to Devil's Island.

    "I am little concerned with beauty or perfection. I don't care for the great centuries. All I care about is life, struggle, intensity. I am at ease in my generation." (from My Hates, 1866)

Emile Zola was born in Paris. His father, François Zola, was an Italian engineer, who acquired French citizenship. Zola spent his childhood in Aix-en-Provence, southeast France, where the family moved in 1843. When Zola was seven, his father died, leaving the family with money problems – Emilie Aubert, his mother, was largely dependent on a tiny pension. In 1858 Zola moved with her to Paris. In his youth he became friends with the painter Paul Cézanne, who was his class-mate. Zola's widowed mother had planned a career in law for him. Zola, however, failed his baccalaureate examination – as later did the writer Anatole France, who failed several times but finally passed. According to one story, Zola was sometimes so broke that he ate sparrows that he trapped on his window sill.

Zola began to write under the influence of the romantics. Before his breakthrough, Zola worked as a clerk in a shipping firm and then in the sales department of the publishing house of Louis-Christophe-Francois-Hachette. He also contributed literary columns and art reviews to the Cartier de Villemessant's newspapers. Zola supported the struggle of Edouard Manet and Impressionists; Manet thanked him with a portrait. As a political journalist Zola did not hide his antipathy toward the French Emperor Napoleon III, who used the Second Republic as a springboard to become Emperor.

During his formative years Zola wrote several short stories and essays, 4 plays and 3 novels. Among his early books was CONTES Á NINON, which was published in 1864. When his sordid autobiographical novel LA CONFESSION DE CLAUDE (1865) was published and attracted the attention of the police, Zola was fired from Hachette.

Zola did not much believe in the possibility of individual freedom, but emphasized that "events arise fatally, implacably, and men, either with or against their wills, are involved in them. Such is the absolute law of uman progress." Inspired by Claude Bernard's Introduction à la médecine expérimentale (1865) Zola tried to adjust scientific principles in the process of observing society and interpreting it in fiction. Thus a novelist, who gathers and analyzes documents and other material, becomes a part of the scientific research. His treatise, LE ROMAN EXPÉRIMENTAL (1880), manifested the author's faith in science and acceptance of scientific determinism.

After his first major novel, THÉRÈSE RAQUIN (1867), Zola began the long series called Les Rougon Macquart, the natural and social history of a family under the Second Empire. "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world." The family had two branches – the Rougons were small shopkeepers and petty bourgeois, and the Marquarts were poachers and smugglers who had problems with alcohol. Some members of the family would rise during the story to the highest levels of the society, some would fall as victims of social evils and heredity. Zola presented the idea to his publisher in 1868. "The Rougon-Macquart – the group, the family, whom I propose to study – has as its prime characteristic the overflow of appetite, the broad upthrust of our age, which flings itself into enjoyments. Physiologically the members of this family are the slow working-out of accidents to the blood and nervous system which occur in a race after a first organic lesion, according to the environment determining in each of the individuals of this race sentiments, desires, passions, all the natural and instinctive human manifestations whose products take on the conventional names of virtues and vices."

At first the plan was limited to 10 books, but ultimately the series comprised 20 volumes, ranging in subject from the world of peasants and workers to the imperial court. Zola prepared his novels carefully. The result was a combination of precise documentation, accurate portrayals, and dramatic imagination; the last had actually little to do with his Naturalist theories. Zola interviewed experts, prepared thick dossiers, made thoughtful portraits of his protagonists, and outlined the action of each chapter. He rode in the cab of a locomotive when he was preparing LA BÊTE HUMAINE (1890, The Beast in Man), and for Germinal he visited coal mines. This was something very different from Balzac's volcanic creative writing process, which produced La Comédie humaine, a social saga of nearly 100 novels. The Beast in Man was adapted for screen for the first time in 1938. The director, Jean Renoir wrote the screenplay with Zola's daughter, Denise Leblond-Zola. In the film Séverine (Simone Simon) wants her lover, the locomotive engineer Lantier (Jean Gabin), to kill her stationmaster husband. Lentier, an honest and proud man, cannot do it, but in a fit of anger and frustration he strangles his beloved instead and commits suicide by throwing himself off a fast moving train.

With L'Assommoir (1877, Drunkard), a depiction of alcoholism, Zola became the best-known writer in France, who attracted crowds imitators and disciples, to his great annoyance: "I want to shout out from the housetops that I am not a chef d'ecole, and that I don't want any disciples," Zola once said. His personal appearance – once somebody said that he had the head of a philosopher and the body of an athlete – was know to everybody. Following the publication of LES SOIRÉES DE MÉDAN (1880), Guy de Maupassant jokingly suggested that Zola's country house at Médan should be visited with the same intrerest as the Palace of Versailles and other historical places. Zola lived there eight months in the year, and the other four month in Paris.

Nana, about a young Parisian prostitute, took the reader to the world of sexual exploitation. In general, sex was a central element in Zola's novels. The book was a huge success in France but in Britain it was attacked by moralist. Henry Vizetelly, who had published several Zola translations from the Rougon-Macquart series, was imprisoned on charges of obscenity. The translation of LA TERRE (1887) practically ruined Vizetelly & Company. Germinal, one of Zola's finest novels, came out in 1885. It was the first major work on a strike, based on his research notes on labor conditions in the coal mines. Germinal was criticized by right-wing political groups as a call to revolution. Zola's tetralogy, LES QUATRE EVANGILES, which started with FÉCONDITÉ (1899), was left unfinished.

Also notable in Zola's career was his involvement in the Dreyfus affair with his open letter J'ACCUSE. "In making these accusations, I am fully aware that my action comes under Articles 30 and 31 of the law of 29 July 1881 on the press, which makes libel a punishable offence," Zola wrote challenging. Alfred Dreyfus (1859-1935) was a French Jewish army officer, who was falsely charged with giving military secrets to the Germans. The trials quickly developed into a idealogical struggle, or as Anatole France wrote, "rendered an inestimable service to the country by bringing out and little by little revealing the forces of past and the forces of future: on the one side bourgeois authoritarianism and Catholic theocracy; on the other side socialism and free thought." Dreyfus was transported to Devil's Island in French Guiana. The case was tried again in 1899 and he was found first guilty and pardoned, but later the verdict was reversed. "The truth is on the march, and nothing shall stop it," Zola announced, but during the process he was sentenced in 1898 to imprisonment and removed from the roll of the Legion of Honor. He escaped to England, and returned after Dreyfus had been cleared.

Zola died on September 28, in 1902, under mysterious circumstances, overcome by carbon monoxide fumes in his sleep. According to some speculations, Zola's enemies blocked the chimney of his apartment, causing poisonous fumes to build up and kill him. At Zola's funeral Anatole France declared, "He was a moment of the human conscience." In 1908 Zola's remains were transported to the Panthéon. Naturalism as a literary movement fell out of favor after Zola's death, but his integrity had a profound influence on such writers as Theodore Dreiser, August Strindberg and Emilia Pardo-Bazan.

    Note: The American writer Henry James was not enthusiastic about naturalism and wrote that the "only business of naturalism is to be - natural, and therefore, instead of saying of Nana that it contains a great deal of filth, we should simple say of it that it contains a great deal of nature." - Film: The Life of Emile Zola (1937), dir. by William Dieterle, screenplay Norman Reilly Raine, Heinz Herald, Geza Herczed, from a story by Heiz Herald and Geza Herczeg, starring Paul Muni, Gale Sondergarrd, Joseph Schildkraut, Gloria Holden. Source material, Matthew Josephson's Zola and His Time. - "Rich, dignified, honest and strong, it is at once the finest historical film ever made and the greatest screen biography, greater even than The Story of Louis Pasteur with which Warners squared their conscience last year." (Frank S. Nugent in the New York Times) - Negotiations were carried out with Dreyfus' widow, Lucie, to ensure that she would find the film acceptable. - Other film adaptations: Thérèse Raquin, 1953, dir.by Marcel Carne; Gervaise, 1955, dir. by René Clément; Pot-Bouille, 1957, dir. by Julien Duvivier; La curée, 1966, dir. by Roger Vadim; La faute de Abbe Mouret, 1970, dir. by Georges Franju - For further reading: Emile Zola by Angus Wilson (1952); Emile Zola by F.W.J. Hemmings (1953); Zola's 'Germinal' by Elliott M. Grant (1962); A Zola Dictionary by I.G. Patterson (1969); Emile Zola: A Selective Analytical Bibliography, ed. by Brian Nelson (1982); Critical Essays on Emile Zola, ed. by David Baguley (1986); A Bourgeois Rebel by Alan Schom (1987); Emile Zola: A Biography by Alan Schom (1988); Zola by Marc Bernard (1988); Zola and the Craft of Fiction, ed. by Robert Lethbridge (1990); Emile Zola: 'L'Assommir' by David Baguley (1992); Emile Zola Revisited by William J. Berg and Laurey K. Martin (1992); Thresholds of Desire by Ilona Chessid (1993) - SEE ALSO: Wladyslaw Reymont, Guy de Maupassant, Gore Vidal - Museum: Maison d'Emile Zola, 26 rue Pasteur, 78670, Medan, Yvelines - Zola's home from 1878

Selected works:

    CONTES Á NINON, 1864 - Stories for Ninon (tr. E. Vizetelly, 1888)
    LA CONFESSION DE CLAUDE, 1865 - Claude's Confession (translated by George D. Cox, 1979)
    MES HAINES, 1866 - My Hatreds (translated by Palomba Paves-Yashinsky and Jack Yashinsky, 1991)
    LE VOUEU D'UNE MORTE, 1866 - A Dead Woman's Wish (tr. 1902)
    MON SALON, 1866
    THÉRÈRE RAQUIN, 1867 - Thérèse Raquin: A Novel (translators: Philip G. Downs; Willard R. Trask; L.W. Tancock, 1962; Robin Buss, 2004; Andrew Rothwell, 2008; eds. Brian Nelson, 1993; Tom Lathrop, 2007) - Thérése Raquin (näytelmäsuom. 1873) - films: 1915, dir. by Nino Martoglio, starring Maria Carmi; 1916, The Marble Heart, dir. by Kenean Buel, starring Violet Horner; 1928, dir. by Jacques Feyder, starring Gina Manès; 1953, dir. by Marcel Carné, starring Simone Signoret, Raf Vallone, Jacques Duby; Bakjwi, 2009, dir. by Chan-wook Park
    EDOUART MANET, 1867
    LES MYSTÈRES DE MARSEILLE, 1867 - The Flower Girls of Marseilles (tr. 1888) / The Mysteries of Marseilles (translated by Edward Vizetelly, 1895)
    LES MYSTÈRES DE MARSEILLE, 1867 (play, with Marius Roux)
    MADELEINE FÉRAT, 1869 - Magdalen Férat (tr. by John Stirling, 1880) / Shame (tr. 1954) / Madeleine Férat (tr. Alec Brown, 1957)
    ROUGON-MACQUART CYCLE, 1871-93, (ed. by Henri Mitterand, 5 vols., 1960-67) - 20 novels totally, starting with LA FORTUNE DES ROUGON, 1871 (The Fortune of the Rougions, 1886); LA CURÉE, 1874 (The Rush for the Spoil, 1886 / The Kill, 1895); LE VENTRE DE PARIS, 1874 (La Belle Lisa; or, The Paris Market Girls, 1882 / The Fat and the Thin, 1888 / Savage Paris, 1955); LA CONQUÊTE DE PLASSANS, 1874 (The Conquest of Plassans, 1887 / A Priest in the House, 1957); LA FAUTE DE L'ABBÉ MOURET, 1875 (Abbé Mouret's Transgression, 1886 / The Sin of the Abbé Mouret, 1904); SON EXCELLENCE EUGÈNE ROUGON, 1876 (Clorinda; or, the Rise and Reign of His Excellency Eugène Rougon, 1880 / His Excellency Eugène Rougon, 1886 / His Excellency, 1958); L'ASSOMMOIR, 1877 (Gervaise, 1879 / The Dram-Shop, 1897 / Drink, 1903 / The Gin Palace, 1952); UNE PAGE D'AMOUR, 1878 (Hélène: A Love Episode, 1878 / A Page of Love, 1897 / Love Affair, 1957; NANA, 1880 (Nana, 1884); POT-BOUILLE, 1882 (Piping Hot!, 1885 / Pot-Bouille, 1895 / Lesson in Love, 1953 / Restless House, 1953); AU BONHEUR DES DAMES, 1883 (Shop Girls of Paris, 1883 / The Ladies' Paradise, 1883 / Ladies' Delight, 1957); LA JOIE DE VIVRE, 1884 (How Jolly Life Is, 1886 / The Joy of Life, 1901 / Zest for Life, 1955); GERMINAL, 1885 (Germinal, 1885); L'ŒUVRE, 1886 (The Masterpiece, 1886 / His Masterpiece, 1886); LA TERRE, 1887 (The Soil, 1888 / La Terre, 1895 / Earth, 1954); LE RÊVE, 1888 (The Dream, 1893); LA BÊTE HUMAINE, 1890 (The Human Beast, 1891? / The Monomaniac, 1901 / /The Beast in Man, 1958); L'ARGENT, 1891 (Money, 1894); LA DÉBÂCLE, 1892 (The Downfall, 1982 / The Debacle, 1968); LE DOCTEUR PASCAL, 1893 (Doctor Pascal, 1893)
    LA FORTUNE DES ROUGON, 1871 - The Girl in Scarlet, or, The Loves of Silvère and Miette (transl. by John Stirling, 1882)
    LA CURÉE, 1874 - In the Whirlpool (translated from the French by John Stirling, 1882) / La Curée (transl. by Teixeira de Mattos, 1895) / Venus of the Counting House (specially revised and edited, 1950) / The Kill (translators: A. Teixeira de Mattos; Brian Nelson, 2004; Arthur Goldhammer, 2004)
    THÉRÈSE RAQUIN, 1873 (play, from the novel) - Seeds (in Modern Drama, 1966)
    NOUVEAUX CONTES À NINON, 1874
    LE VENTRE DE PARIS, 1874 - The Fat and the Thin (transl. by Ernest Alfred Vizetelly, 1888) / The Belly of Paris (translators: Ernest Alfred Vizetelly; Brian Nelson, 2007; Mark Kurlansky, 2009;) / Savage Paris (translated by David Hughes and Marie-Jacqueline Mason)
    LA CONQUÊTE DE PLASSANS, 1874 - A Mad Love, or, The Abbé and His Court (translated by John Stirling, 1882) / The Conquest of Plassans (translated by Ernest Alfred Vizetelly) / A Priest in the House (tr. Brian Rhys)
    LES HÉRITIERS RABOURDIN, 1874 (play) - The Heirs of Rabourdin (tr. 1893)
    LA FAUTE DE L'ABBE MOURET, 1875 - Albine, or, The Abbe's Temptation (translated by John Stirling, 1882) / Abbé Mouret's Transgression (transl. by Ernest Alfred Vizetelly) / Abbé Mouret's Sin (transl. by Alec Brown) / The Sin of Father Mouret (translated by Sandy Petrey, 1969)
    SON EXCELLENCE EUGÈNE ROUGON, 1876 - Clorinda; or, The Rise and Reign of His Excellency Eugene Rougon (transl. by Mary Neal Sherwood, 1880) / The Mysteries of the Court of Louis Napoleon (tr. 1882) / His Excellency (translators: Ernest Alfred Vizetelly; Alec Brown, 1958)
    L'ASSOMMOIR, 1877 - Assommoir: A Novel (translated by John Stirling, 1879) / The "Assommoir": A Realistic Novel (transl. anon. 1884, rev. ed. The Dram-Shop, ed. by E.A. Vizetelly, 1897) / The Drunkard (transl. by A. Symons, 1894) / Drink (transl. by J. Adair) / The Dram Shop (transl. by Gerard Hopkins, 1951) / L'Assommoir (transl. by Atwood H. Townsend, 1962; Margaret Mauldon, 1995) / Assommoir = The Dram Shop (translated and edited by Robin Buss, 2000) / The Drinking Den (tr. by Robin Buss) - Ansa: yhteiskunnallinen kuvaus Pariisin työväen elämästä toisen keisarikunnan aikana, kuuluva romaanisarjaan Rougon-Macquartin suku (suom. Paavo Warén, 1903-1904) / Ansa (suom. Juha Mannerkorpi, 1947) - films: 1902, Les victimes de l'alcoolisme, dir. by Ferdinand Zecca; 1902, dir. by Ferdinand Zecca; 1909, dir. by Albert Capellani; 1917, Drink, dir. by Sidney Morgan; 1921, dir. by Maurice de Marsan & Charles Maudru; 1933, dir. by Gaston Roudès, starring Line Noro; 1956, Gervaise, dir. by René Clément, starring Maria Schell, François Périer
    UNE PAGE D'AMOUR, 1878 - A Love Episode (transl. by C.C. Starkweather, 1910) / A Love Affair (transl. by Jean Stewart Elek, 1957)
    LE BOUTON DE LA ROSE, 1878 (play, in Théâtre, 1878)
    THÉÂTRE, 1878
    LA RÉPUBLIQUE FRANÇAISE AT LA LITTÉRATURE, 1879
    NANA, 1880 - Nana (translators: Charles Duff, 1880; John Stirling, 1882; Victor Plarr, 1894; Burton Rascoe, 1922; Joseph Keating, 1926; Lowell Bair, 1964; George Holden, 1972; Douglas Parmée, 1992) - Nana 1-2 (suom. Yrjö Veijola, 1930) / Nana (suom. Georgette Vuosalmi, 1952) - films: 1926, dir. by Jean Renoir, starring Catherine Hessling and Werner Krauss; 1934, dir. by Dorothy Arzner & George Fitzmaurice, starring Anna Sten, Lionel Atwill; 1944, dir. by Roberto Gavaldón & Celestino Gorostiza, starring Lupe Velez; 1954, dir. by Christian-Jacque, starring Martine Carol, Charles Boyer; 1970, dir. by Mac Ahlberg, starring Anna Gaël; 1982, dir. by Dan Wolman, starring Katya Berger; 1985, dir. by Rafael Baledón & José Bolaños
    LE ROMAN EXPÉRIMENTALE, 1880 - The Experimental Novel, and Other Essays (translated by Belle M. Sherman) / The Naturalist Novel (edited with an introd. by Maxwell Geismar)
    LES SOIRÉES DE MÉDAN, 1880 (with Guy de Maupassant, Joris-Karl Huysmans, Henri Céard, Léon Hennique, and Paul Alexis; contains Zola's L'attaque du moulin) - The Attack on the Mill and Other Stories (translated with an introduction by Douglas Parmée, 1984) - Rynnäkkö myllyä vastaan (suom. 1906)
    NANA, 1881 (play, with William Busnach, from the novel, in Trois pièces, 1885)
    LES ROMACIERS NATURALISTES, 1881
    LE NATURALISME AU THÉÂTRE, 1881
    NOS AUTEURS DRAMATIQUES, 1881
    DOCUMENTS LITTÉRAIRES, ÉTUDES AT PORTRAITS, 1881
    POT-BOUILLE, 1882 - Pot-Bouille (Piping Hot): A Realistic Novel (transl. by Percy Pinkerton, 1895) / Piping Hot (transl. by Percy Pinkerton, with an essay by Guy de Maupassant) / Restless House (transl. by Percy Pinkerton, introd. by Angus Wilson) / Lesson in Love / Pot Luck (translated by Brian Nelson, 1999)
    LE CAPITAINE BURLE, 1882
    UNE CAMPAGNE, 1882
    POT-BOUILLE, 1883 (play, with William Busnach, from the novel, in Trois pièces, 1885)
    AU BONHEUR DES DAMES, 1883 - Bonheur des dames, or, The Shop Girls of Paris (translated by John Stirling, 1883) / The Ladies' Paradise (translators: Kristin Ross; Brian Nelson, 1995) / Au bonheur des dames = The Ladies' Delight (translators: April Fitzlyon; Robin Buss, 2001) - Naisten aarreaitta (suom. Gertrud Colliander (1912) / Naisten paratiisi (suom. Ossi Lehtiö, 1974)
    NAÏS MICOULIN, 1884
    JOIE DE VIVRE, 1884 - Life's Joys (tr. 1884) / How Jolly Life Is! (tr. Ernest Alfred Vizetelly, 1888) / The Joy of Life (tr. Ernest Alfred Vizetelly, 1901) / Zest for Life (transl. by Jean Stewart, 1955)
    GERMINAL, 1885 - Germinal, or Master and Man: A Realistic Novel (tr. 1885, rev. edn ed. E.A. Vizelly, 1901) / Germinal (transl. by Havelock Ellis, 1895; Leonard Tancock, 1954; Willard Trask, 1962; Stanley Hochman, 1970; Peter Collier, 1993; Roger Pearson, 2004) - Kivihiilenkaivajat (suom. Maria Palm, 1915) / Germinal 1-2 (suom. Leila Adler, 1958) - films: 1913, dir. by Albert Capellani; 1963, dir. by Yves Allégret, starring Jean Sorel, Berthe Granval, Claude Brasseur and Bernard Blier; 1993, dir. by Claude Berri, starring Gérard Depardieu and Miou-Miou
    L'OEUVRE, 1886 - The Masterpiece (translators: Katherine Woods; Thomas Walton, 1993)
    L'AFFAIRE DFEYFUS: LETTRE À LA JEUNESSE, 1887 - Dreyfus Case / Dreyfus Affair: "J'accuse" and Other Writings (translated by Eleanor Levieux, 1996)
    LA VENTRE DE PARIS, 1887 (play, with William Busnach, from the novel)
    RENÉE, 1887 (play)
    LA TERRE, 1887 - La Terre (transl. Ernest Dowson, 1895) / The Soil: The Earth (translated by Henry Vizetelly, 1888) / The Earth (translators: Ann Lindsay, 1955; Douglas Parmée, 1980)
    A Soldier's Honour, 1888 (short stories)
    GERMINAL, 1888 (play, from the novel, with William Busnach)
    LE RÊVE, 1888 - The Dream (translators: Eliza E. Chase; Michael Glencross, 2005; Andrew Brown, 2005) - Unelma (suom. Väinö Jaakkola, 1914) - film: 1921, dir. by Jacques de Baroncelli
    MADELEINE, 1889 (play, in Oeuvres complètes, 1927-29)
    LA BÊTE HUMAINE, 1890 - Human Brutes (La Bête Humaine): A Realistic Novel (tr. Count Edgar de V. Vermont, 1890) / The Monomanic (transl. Edward Vizetelly, 1901) / Bête Humaine (translators: Leonard Tancock, 197; Roger Pearson) / The Human Beast (tr. Louis Colman) / The Beast in Man (translators: Alec Brown, 1956; R.G. Goodyear and P.J.R. Wright, 1968; Leonard Tancock, 1977) / The Beast Within (translators: Roger Pearson, 1999; Roger Whitehouse, 2008) - Ihmispeto (suom. Wikki Ilmoni, 1906) - films: 1920, Die Bestie im Menschen, dir. by Ludwig Wolff; 1938, dir. by Jean Renoir, starring Jean Gabin; 1954 (Human Desire), dir. by Fritz Lang, starring Glen Ford; 1957, La bestia humana, dir. by Daniel Tinayre; 1995 (TV film) Cruel Train, dir. by Malcolm McKay, starring David Suchet, Saskia Reeves. "Renoir was forced to cut one of his favorite shots: the camera closely roaming across Severine's murdered body evoking a sense of violence, guilt and desire all wrapped into one complex image. Fritz Lang's remake, Human Desire (1954), had its own moments but Hollywood was far more censorious about exploring the potential for lust and violence within ordinary people." (from The BFI Companion to Crime, ed. by Phil Hardy, 1997)
    L'ARGENT, 1891 - Money (L'argent): A Realistic Novel (tr. 1891) / Money (translators: Benj. R. Tucker, 1891; Ernest Alfred Vizetelly, 1894) - Raha (suom. 1916) - film: 1928, dir. by Marcel L'Herbier, starring Brigitte Helm, Marie Glory, Yvette Guilbert, Pierre Alcover, Alfred Abel, Henry Victor
    DÉBÂCLE, 1892 - The Downfall: A Story of the Horrors of War (transl. by Ernest A. Vizetelly, 1892) / La Débâcle (translated by Elinor Dorday, 2000) / The Debacle (translators: John Hands, 1968; L. W. Tancock, 1973) - Sota (suom. Saima Grönstrand, Sohvi Reijonen ja Hilma Sederholm, 1892)
    The Attack on the Mill, 1892 (short stories)
    LE DOCTEUR PASCAL, 1893 - Doctor Pascal (translators: Ernest Vizetelly, 1893; Mary J. Serrano, 1898; Vladimir Kean, 1957)
    LES TROIS VILLES: LOURDES, 1894 - The Three Cities Trilogy: Lourdes (tr. Ernest Alfred Vizetelly, 1894)
    LES TROIS VILLES: ROME, 1896 - The Three Cities Trilogy: Rome (tr. Ernest Alfred Vizetelly, 1896)
    LES TROIS VILLES: PARIS, 1898 - The Three Cities Trilogy: Paris (tr. Ernest Alfred Vizetelly, 1898)
    NOUVELLE CAMPAGNE, 1897
    MESSIDOR, 1897 (play, music by Alfred Bruneau)
    'J'accuse', on January 13, 1898 (in L'Aurore)
    LES QUATRE ÉVANGILES: FÉCONDITE, 1899 (LE TRAVAIL, 1901; LA VÉRITÉ 1903; LA JUSTICE, unfinished) - Fruitfulness (translated by Ernest A. Vizetelly, 1900) - Hedelmälisyys 1-2 (suom. V.A. Marjanen 1905-1906)
    LES QUATRE ÉVANGILES: LE TRAVAIL, 1901 - Labor: A Novel (tr. Ernest A. Vizetelly, 1901)
    LA VÉRITÉ EN MARCHE, 1901
    L'OURAGAN, 1901 (play, music by Alfred Bruneau)
    LES QUATRE ÉVANGILES: LA VÉRITÉ, 1903 - Truth (translated by Ernest A. Vizetelly, 1903) - Totuus (suom. Paavo Warén, 1902-1903)
    L'ENFANT-ROI, 1905 (play, music by Alfred Bruneau)
    POÈMES LYRIQUES, 1921 (opera librettos, includes Messidor, L'Ouragan, L'Enfant-Roi, Lazare, Violaine la chevelue, Sylvanire)
    ŒUVRES COMPLÈTES, 1927-29 (50 vols., ed. by Eugène Fasquelle and Maurice Le Blond)
    MADAME SOURDIS, 1929
    Stories, 1935
    Letters to J. Van Santen Kolff, 1940 (ed. by Robert J. Niess)
    LA RÉPUBLIQUE EN MARCHE, 1956 (2 vols., ed. by Jacques Kayser)
    MES VOYAGES, 1958 (ed. by René Ternois)
    SALONS, 1959 (ed. by F.W.J. Hemmings and Robert J. Niess)
    LETTRES INÉDITES À HENRY CÉARD, 1959 (ed. by A.J. Salvan)
    VINGT MESSAGES INÉDITS DE ZOLA À CÉARD, 1961 (ed. by A.J. Salvan)
    L'ATELIER DE ZOLA, 1963 (ed. by Martin Kanes)
    LETTRES DE PARIS, 1963 (ed. by P.A. Duncan and Vera Erdely)
    ŒUVRES COMPLÈTES, 1966-69 (15 vols., ed. by Henri Mitterand)
    CONTES ET NOUVELLES, 1976
    CORRESPONDANCE 1858-1877, 1980

http://www.kirjasto.sci.fi/ezola.htm

[CrackSmokeRepublican]

This Russian Jew was at the Nuremberg Trials to supply propaganda for Bolsheviks.  This book tries to demonize all of Europe as "conspiring" against the Jew$(cams!)... It has some interesting insights into people (Goyim) at the turn of the century that worked against the Jew "power plays" going on at the time.  A lot of French appear to have gotten wise to the 1870-71 occupation as a massive "Jew Project"... The book,  Pro-Jew and "Anti-White European" ,  indeed reveals "too much" about the real Jew Scams that were underway at the time... --CSR

---------

The History of Anti-semitism: Suicidal Europe, 1870-1933
 By Léon Poliakov  

Covering the story of prejudice against Jews from the time of Christ through the rise of Nazi Germany, The History of Anti-Semitism presents in elegant and thoughtful language a balanced, careful assessment of this egregious human failing that is nearly ubiquitous in the history of Europe.

Suicidal Europe, 1870-1933 traces the development of a belief among Europe's educated classes in an eventual Jewish domination of the West. Revealing the embedded myths about Jewish bankers and Jewish Bolsheviks in European rhetoric and histories, Poliakov demonstrates that the steady rise in anti-Semitism and suspicion of Jews in the late nineteenth century—highlighted by the Dreyfus affair—and its eventual eruption in the rise of the Nazi party in Germany in the 1920s are part of the same thread of fear and hatred that reaches back to the beginning of the first millennium.

Léon Poliakov (1910-97) has written extensively on the Holocaust and anti-Semitism. His many books include Harvest of Hate: The Nazi Program for the Destruction of Jews in Europe and Aryan Myth: A History of Racist and Nationalist Ideas in Europe. He helped establish the Centre de Documentation Juive in 1943.

----------

http://books.google.com/books?id=94H61c ... #v=onepage

[CrackSmokeRepublican]

The Myth of the Six Million
11. Léon Poliakov and the Wisliceny Story

The genocide legend was propagated with increased zeal after the brutal unconditional surrender pronouncement. Numerous statements were extracted from a few of the German defendants in Allied custody after World War 11 to document the charge that there was a gradual drift into a policy of exterminating the Jews of Europe after the outbreak of war between Germany and the USSR in June. 1941. 'Many of these so-called key statements appear in Léon Poliakov and Josef Wulf, Das Dritte Reich und die Juden: Dokumente und Aufsätze (The Third Reich and the Reich: Documents and Articles, Berlin, 1955). Poliakov is the director of the    Centre de Documentation Juive Contemporaine in Paris   , which was launched by Isaac Schneersobn in 1943 during the German occupation. The Centre was presented with the files of the German Embassy in Paris by Provisional French President Charles de Gaulle in 1944. Its collection of materials on German policy toward the Jews, 1933-1945, is more extensive than any other, including the Haifa Document Office for Nazi Crimes and Dr. Albert Wiener's similar Library in London.

The most celebrated of all key "documents" is the statement of Dieter Wisliceny obtained at the Communist-controlled Bratislava prison on November 18, 1946. Wisliceny, who had been a journalist before engaging in police work, was an assistant of Adolf Eichmann in the Jewish Division of the Chief Reich Security Office prior to receiving his assignment in Slovakia. Wisliceny was a nervous wreck and addicted to uncontrollable fits of sobbing for hours on end during the period of his arrest prior to his execution.

The Wisliceny statement begins convincingly enough. It indicates that Reich SS Leader Heinrich Himmler was an enthusiastic advocate of Jewish emigration. More than 100,000 Jews had been persuaded to leave Austria between March, 1938, and January, 1939. This figure eventually reached 220,000 of the total 280,000 Austrian Jews. A special Institute for Jewish emigration in Prague had produced remarkable results in the period after March, 1939, and secured an eventual emigration of 260,000.

The above points are indisputable, but the comment follows, allegedly from Wisliceny, that more than three million Jews were added to the German sphere by the war in Poland in 1939. This would be a major factual error for any expert on European Jewry. There were more than 1,130,000 Jews in the section of Poland occupied by Russia, whereas the figure of more than three million Jews could scarcely apply even to the total territory of Poland before the war. An estimated 500,000 Jews had emigrated from Poland prior to the war. The 1931 Polish census had established the number of Jews in Poland at 2,732,600 (Reitlinger, Die Endlösung, Berlin, 1956, p. 36). An additional minimum of 250,000 Jews had fled from Western Poland to the Soviet occupation sphere in 1939. If one subtracts 1,880,000 from 2,732,600 and allows for the normal Jewish population increase, the Polish Jews under German rule at the end of 1939 could scarcely have exceeded 1,100,000 (Gutachten des Instituts für Zeitgeschichte, Munich, 1958, p. 80).

The Wisliceny statement emphasizes that the emigration of Jews from German occupied territories continued after the outbreak of war. The emigration of Danzig Jews by way of Rumania and Turkey in September, 1940, is cited as a typical instance. Himmler and Eichmann had taken over the idea of a Madagascar haven for the Jews from the Poles. The latter had sent the Michal Lepecki expedition -- accompanied by Jewish spokesmen -- to Madagascar in 1937, and Theodor Herzl, the founder of Zionism, had also considered Madagascar as a good possible basis for the future Jewish state. Madagascar meant the "final solution" of the Jewish question to Himmler and Eichmann. The Madagascar plan was still under discussion many months after the outbreak of war with the USSR.

The statement of Wisliceny goes on to state that until June 1941, the conditions of Jewish life in Germany, including Austria, and in the Bohemia-Moravia protectorate, were no worse than before the war. The Jews in Poland had returned to their customary and traditional ghetto life, but war plants were being located in the ghettos to provide adequate employment.

http://www.ihr.org/books/hoggan/11.html