The echo of the name "Iaokanann" in Flaubert's 'Herodias.' (playwright Gustave Flaubert)

Article Abstract:

The familiar saint Jean-Baptiste in Gustave Flaubert's 'Herodias' is given the unfamiliar name 'Iaokanann.' The playwright maintains that the purposeful repetition of the same sound in the final two syllables made this choice for him. It is a kind of echo that typifies the character and his relations to the other characters of the play. Rather like a physical echo that at the same time identifies itself and its source, the naming of Iaokanann identifies the character and those who name him, including the reader, in a reciprocal way. The name and character become the focus of reciprocal identification in the play.

Names in literature, Literary names

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Listening power: Flaubert, Zola, and the politics of 'style indirect libre.'

Article Abstract:

'Style indirect libre' is characterized by speech reported from the listener's perspective. This style was perfected by Flaubert and adopted by Zola in 'L'Assommoir.' Zola renounced the traditional control of the author to allow his characters to tell their stories in their own words, giving them a democratic autonomy. Flaubert's elimination of the judgmental narrator paved the way for Zola's heteroglossic style.

Politics in literature, Political literature, Indirect discourse, Discourse

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Zola's male creation: reproduction in 'Les Rougon-Macquart.'

Article Abstract:

Male involvement in reproduction and male usurpation of female functions are prominent themes in 'Les Rougon-Macquart' by Emile Zola. Zola sets up a hierarchy between man and the natural world that is reflected in parallels between the mother and the earth as well as between the mother and the mine. Motherhood is embodied through personified spaces while excluding human fallibility and guilt.

Portrayals, Sex roles, Sex role in literature, Human reproduction, Cosmogony, Creation

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