THE MEDAN MATRIX - HUYSMANS AND MAUPASSANT FOLLOWING ZOLA’S MODEL OF NATURALISM - Dissertation

Sep 4, 2026

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Comparable to a matrix, the Médan group is presented as a system for producing naturalist literature, with Émile Zola as the model for a small set of writers. Nineteenth-century scientific developments shaped Zola’s theories and practice, which drew Joris-Karl Huysmans and Guy de Maupassant to the movement. The study examines how and why both authors diverge, preventing a complete fusion of science and art.

LanguageEnglish

CategoryGeneral

FormatPDF

Pages389

Reading Time2 h 16 min

AccessFree to download

Introduction

Naturalism and Zola’s Model

Les Soirées de Médan and the Aesthetic Ideal

Chapters 1-4

Discrepancies in Naturalist Theory

Naturalist vs Non-Naturalist Features

A rebours and "Le Horla"

Classification and Artistic Individuality

THE MEDAN MATRIX: HUYSMANS AND MAUPASSANT FOLLOWING ZOLA’S MODEL OF NATURALISM DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Kristen Wolter, B.A., M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Charles D. Minahen, Adviser Professor Christiane Laeufer ______________________________ Adviser Professor Mihaela Marin Department of French and Italian Copyright by Jennifer Kristen Wolter 2003 ABSTRACT Comparable to a matrix, the Médan group incarnates a system for the production of naturalist literature with Emile Zola serving as the model for a select handful of writers. Nourished by the scientific developments of the nineteenth century, Zola’s theories and successful practice of naturalism drew Joris-Karl Huysmans and Guy de Maupassant, among others, to the movement. Yet, they soon diverged from Zola’s model of naturalism, as did Zola himself at times. The first chapter of this dissertation seeks to reveal the inherent discrepancies within the theory of naturalism that prevent a true fusion of science and art in the novel. Les Soirées de Médan, a collection of stories about the Franco-Prussian War, united the writers in a show of adherence to the naturalist movement. While the work garnered the reputation of a manifesto, the stories belie the deviations from naturalism that were present and growing in Huysmans, Maupassant, and even Zola. Chapter two approaches the Médan group from its foundation in support of an aesthetic ideal to the contradictory display of naturalist and non-naturalist features in Les Soirées de Médan. The untenability of the Médan group is confirmed by the members’attraction to various literary styles. Chapters three and four examine Huysmans’s A rebours and Maupassant’s “Le Horla,” hailed as exemplars of the decadent and fantastic genres. Themes of artifice in A rebours and the supernatural in “Le Horla” overturn the conventional subject matter of naturalism. It is a mistake, however, to distance these works entirely from the naturalist theories that ground them. Even so, both writers choose to depict some of the most unnatural aspects of human existence. Overall, the interplay of naturalist and non-naturalist elements in Huysmans and Maupassant blurs the lines of classification to affirm that the writers possess unique talents independent of their initial allegiance to Zola’s campaign of naturalism. Indeed, Zola recognized the individuality of artistic genius and embraced diversity in the Médan group. The metaphor of the matrix therefore is not to force each writer into the same mold, but rather to provide a template for the exploration of humanity in literature. ACKNOWLEDGMENTS First and foremost, I wish to thank my adviser, Charles D. Minahen, for his guidance and support each step of the way. I treasure the generous gifts of his time, commitment, and positive spirit that he brought to this undertaking. I thank him for offering insightful and inspiring suggestions throughout the process and for challenging me always to pursue ideas and develop my thoughts to the fullest. I am grateful to Christiane Laeufer and Mihaela Marin for encouraging me at all times and for having faith in my project. I sincerely appreciate their enthusiastic participation in my dissertation committee. Additionally, I thank all my professors in the Department of French and Italian at Ohio State for providing me with the means and the motivation to complete my doctoral studies. The congenial spirit of my fellow graduate students has made the journey a most enjoyable one. I am happy to recognize in particular my friends and colleagues in the Individualized Language Learning Center, who have been a constant source of encouragement and camaraderie. I would like to acknowledge the editorial board of the journal Excavatio for

FAQs

What central idea does the dissertation use to describe the Médan group?

It uses the metaphor of a matrix to model the Médan group as a template for exploring humanity in literature, shaped initially by Zola’s naturalism but not forcing identical outcomes for each writer.

How do Huysmans and Maupassant relate to Zola’s naturalist model?

The dissertation argues that both writers initially engage with Zola’s naturalist movement but soon diverge, showing inherent discrepancies that undermine a true fusion of science and art.

Which works are analyzed to demonstrate the limits of naturalism?

Chapter three examines Huysmans’s A rebours and chapter four examines Maupassant’s "Le Horla," both treated as exemplars of decadent and fantastic genres that challenge conventional naturalist subject matter.

Sep 4, 2026

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