此論文以三本自然主義小說為主軸，分別為酒店、娜娜和婦女樂園，以及三個理論家米哈伊爾‧巴赫金所撰寫的拉伯雷和他的世界，探討文中的怪誕理性主義和嘉年華、查爾斯‧達爾文在探討本能中的適者生存而不適者淘汰的論述以及華特•班雅明對於十九世紀巴黎的轉變記載在三本小說中如何各自被呈現。

埃米爾•左拉是酒店、娜娜和婦女樂園小說的作者，此論文裡與三位有才智的理論家們有密切的關聯性，特別在左拉的這三本小說中得以分別看出端倪。酒店、娜娜和婦女樂園可以做為左拉對於三位理論家的論述的回饋、運用以及反思。身為一位自然主義小說家追求小說真實的描寫及刻畫，左拉讓小說中的角色們去應對他們內在以及外在的各種情況卻也呼應著現實生活中各個階級的遭遇。此外，在論述中也結合著對於米哈伊爾‧巴赫金理論的翻轉、查爾斯‧達爾文的排弱性以及透過華特•班雅明的歷史紀錄強化三本小說的真實度，近而顯示出小說裡建築在資本主義概念底下，角色們如何在競爭激烈的世界裡存活。

In this thesis on three Naturalist novels, L'assommoir, Nana and Au Bonheur des Dames, I respectively discuss the idea of grotesque realism and carnival in Mikhail Bakhtin's Rabelais and His World, the idea of instinct in Charles Darwin's survival of the fittest, and the idea of transition in Walter Benjamin's literary theory.
Émile Zola, the author of L'assommoir, Nana and Au Bonheur des Dames, is obviously connected with those three intellectuals' theories, and his L'assommoir, Nana and Au Bonheur des Dames can be viewed as his response and his reverse of the original idea to the intellectual positions of Bakhtin, Darwin, and Benjamin. As a Naturalistic novelist who seeks to depict reality, Zola has his characters cope with their internal and external conditions, and his narration is then tinged with Bakhtin's, Darwin's and Benjamin's ideas. In light of Bakhtin's Rabelais and His World, Darwin's survival of the fittest, and Benjamin's literary theory, the characters in L'assommoir, Nana and Au Bonheur des Dames are shown to be helpless creatures in a competitive universe which is based on capitalism.

English Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
Chinese Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
Acknowledgement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Chapter One: The Fall of Old Paris in L'assommoir . . . . . . . . . . . . . . . . . . . . . . . . . 11
Chapter Two: The Rise of New Paris out of Old Paris in Nana . . . . . . . . . . . . . . . . . 23
Chapter Three: The Emergence of Middle Class Production in Au Bonheur des Dames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Work Cited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

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