左拉的自然主義自十九世紀以來一直受制於所謂生物／基因／環境決定論的解讀。本文意旨在生活塑模與生命未形之間重新建立左拉與德勒茲的關連。德勒茲指出左拉的自然主義解釋了兩種遺傳：本能與縫隙。前者乃是生活塑模反覆固定本能與慾望之物的僵固關係所致。當前者不斷重複形成塑模之本同，後者則是塑模成型過程當中，永恆超溢的「未形」，在主體本同侷限的邊界上，因迴譯而改變生命意義生產的模式與方向。本文以左拉的小說《作品》為主要文本，連結德勒茲為《人獸》所寫的序言，以「捕捉真實感」為起點分析兩者思想上的關連。

It is on the borderline of the perpetual mode of lives and life in terms of the “Non-figured” that Zola’s conceptualization of naturalism deserves reevaluation in relation to the contemporary issues of subjective-formation as proposed, for example, by Foucault and Deleuze. Deleuze distinguishes between two cycles coexisting in the work of Zola: inheritance of instincts and inheritance of fracture; the first determines the condition of every person’s “nature” as the synthesized instinct-object relation reproduced incessantly in a given mode of life; and the latter, transcending all modes of life, transmits nothing but itself. Based on Zola’s work L’oeuvre and Deleuze’s preface to Zola’s novel La bête humaine, the present study enquires into Zola’s art theory on “capturing the sense of the real” vis-a-vis Deleuze’s version of capturing the force of Life.