Le son social : Stylistique et sémantique des bruits de domination dans La Comédie humaine
DOI:
https://doi.org/10.70091/Atras/vol07no01.31Keywords:
Son (ou Monde sonore), stylistique, domination sociale, bruit (ou Fracas), sémiosisAbstract
Cette étude vise à dépasser la lecture de Balzac comme simple « romancier du regard » en analysant la fonction sémiotique et politique du son dans La Comédie humaine. Notre thèse centrale établit que le bruit n'est pas un simple décor, mais un agent de stratification sociale et le révélateur des systèmes de domination du XIXe siècle. L'analyse s'appuie sur une sonocritique stylistique (onomatopées, syntaxe de l'impact, lexique moral) pour décoder le passage du bruit brut au son signifiant. Le son balzacien opère une métatopologie (Nancy, 2002) qui révèle le « dessous du sens » (Barthes) des inégalités : le fracas du pouvoir et le silence des puissants s'opposent au tumulte subi de la misère. En conclusion, l'œuvre s'impose comme un enregistrement auditif de l'histoire, un espace où le bruit est inscrit dans la « panoplie du pouvoir » (Attali, 2013).
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