{"id":20647,"date":"2025-12-25T16:41:11","date_gmt":"2025-12-25T07:41:11","guid":{"rendered":"https:\/\/www.waseda.jp\/inst\/cro\/?p=20647"},"modified":"2026-02-12T13:21:07","modified_gmt":"2026-02-12T04:21:07","slug":"%e6%ac%a1%e4%b8%96%e4%bb%a3%e3%82%b8%e3%83%a3%e3%83%bc%e3%83%8a%e3%83%aa%e3%82%ba%e3%83%a0%e3%83%bb%e3%83%a1%e3%83%87%e3%82%a3%e3%82%a2%e7%a0%94%e7%a9%b6%e6%89%80%ef%bc%9anhk%e6%94%be%e9%80%81-7-2-3-3","status":"publish","type":"post","link":"https:\/\/www.waseda.jp\/inst\/cro\/news-en\/2025\/12\/25\/20647\/","title":{"rendered":"Report of Institute for Research in Opera and Music Theatre: Monthly Regular Meeting, February 2026(234th Meeting of the Opera Research Group)"},"content":{"rendered":"

\u00c9mile Zola and Music: The Relationship between Literature and Opera in Late 19th Century France: Minori<\/span> NODA<\/h3>\n
Abstract<\/strong><\/h5>\n

\u00c9mile Zola, a representative French naturalist writer of the late 19th century, was more than just a novelist. Recent research has focused on his collaboration with opera composer Alfred Bruneau, and his musical criticism has become a new topic of research.
\nAs a young man, Zola viewed Jacques Offenbach as a hypothetical enemy, symbolizing the decadence of the Second Empire. In novels such as Nana<\/em>, Zola critically portrayed the operetta composer\u2019s works as a kind of parody. This presentation reexamines \u00c9mile Zola\u2019s critical descriptions of music and analyzes how the novelist portrays musical art in his own works. Through an overview of each period in the author\u2019s creative journey, I will consider the relationship between late 19th-century naturalist literature and opera and musical theater.<\/p>\n

Event Outline<\/h5>\n