{"id":3619,"date":"2026-01-15T08:00:00","date_gmt":"2026-01-15T08:00:00","guid":{"rendered":"https:\/\/atras-univ-saida.dz\/en\/?p=3619"},"modified":"2026-03-22T12:08:54","modified_gmt":"2026-03-22T12:08:54","slug":"article-31-issue-01-vol-7-january-2026","status":"publish","type":"post","link":"https:\/\/atras-univ-saida.dz\/en\/?p=3619","title":{"rendered":"Article 31 Issue 01 vol 7 January 2026"},"content":{"rendered":"\n<div id=\"section-geb5931\" class=\"wp-block-gutentor-e1 section-geb5931 gutentor-element gutentor-element-advanced-text text-align-center-desktop text-align-center-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong><strong><strong><strong><strong>Le son social : Stylistique et s\u00e9mantique des bruits de domination dans <em>La Com\u00e9die humaine<\/em><\/strong><\/strong><\/strong><\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-gac8230\" class=\"wp-block-gutentor-e1 section-gac8230 gutentor-element gutentor-element-advanced-text text-align-center-desktop\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\"><strong><strong><strong><strong>Zied SMAT<\/strong><br>Universit\u00e9 de Tunis El Manar, Tunis<br>Laboratoire des recherches et des \u00e9tudes brachylogiques&nbsp;(Discours, communication, arts et cultures, soci\u00e9t\u00e9, histoire).<br><a href=\"mailto:zied.smat@gmail.com\">zied.smat@gmail.com<\/a><br>ORCID&nbsp;: <a href=\"https:\/\/orcid.org\/0009-0000-9543-8723?lang=fr\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/orcid.org\/0009-0000-9543-8723<\/a><\/strong><\/strong><\/strong><\/p><\/div><\/div>\n\n\n\n<div id=\"section-g656699\" class=\"wp-block-gutentor-e0 section-g656699 gutentor-element gutentor-element-advanced-text\"><div class=\"gutentor-text-wrap\"><h2 class=\"gutentor-text\"><strong>Abstract<\/strong><\/h2><\/div><\/div>\n\n\n\n<div id=\"section-g92b167\" class=\"wp-block-gutentor-e1 section-g92b167 gutentor-element gutentor-element-advanced-text text-align-justify-desktop\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Cette \u00e9tude vise \u00e0 d\u00e9passer la lecture de Balzac comme simple \u00ab romancier du regard \u00bb en analysant la fonction s\u00e9miotique et politique du son dans <em>La Com\u00e9die humaine<\/em>. Notre th\u00e8se centrale \u00e9tablit que le bruit n&#8217;est pas un simple d\u00e9cor, mais un agent de stratification sociale et le r\u00e9v\u00e9lateur des syst\u00e8mes de domination du XIXe si\u00e8cle. L&#8217;analyse s&#8217;appuie sur une sonocritique stylistique (onomatop\u00e9es, syntaxe de l&#8217;impact, lexique moral) pour d\u00e9coder le passage du bruit brut au son signifiant. Le son balzacien op\u00e8re une m\u00e9tatopologie (Nancy, 2002) qui r\u00e9v\u00e8le le \u00ab dessous du sens \u00bb (Barthes) des in\u00e9galit\u00e9s : le fracas du pouvoir et le silence des puissants s&#8217;opposent au tumulte subi de la mis\u00e8re. En conclusion, l&#8217;\u0153uvre s&#8217;impose comme un enregistrement auditif de l&#8217;histoire, un espace o\u00f9 le bruit est inscrit dans la \u00ab panoplie du pouvoir \u00bb (Attali, 2013).<\/p><\/div><\/div>\n\n\n\n<div id=\"section-g33472e\" class=\"wp-block-gutentor-e0 section-g33472e gutentor-element gutentor-element-advanced-text\"><div class=\"gutentor-text-wrap\"><h2 class=\"gutentor-text\"><strong>Keywords:<\/strong>  Son (ou Monde sonore), stylistique, domination sociale, bruit (ou Fracas), s\u00e9miosis<\/h2><\/div><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/atras-univ-saida.dz\/archive\/index.php\/files\/article\/view\/278\/349\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"278\" src=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png\" alt=\"\" class=\"wp-image-1136\" style=\"width:183px;height:auto\" srcset=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png 1000w, https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2-300x83.png 300w, https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2-768x214.png 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/a><\/figure>\n<\/div>\n\n\n<div id=\"section-g03e6f3\" class=\"wp-block-gutentor-e0 section-g03e6f3 gutentor-element gutentor-element-advanced-text\"><div class=\"gutentor-text-wrap\"><h2 class=\"gutentor-text\"><strong><strong>How to Cite this Paper&nbsp;:<\/strong><\/strong><\/h2><\/div><\/div>\n\n\n\n<div id=\"section-g0ad6aa\" class=\"wp-block-gutentor-e1 section-g0ad6aa gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><h3 class=\"gutentor-text\">Smat, Z.(2026).Le son social : Stylistique et s\u00e9mantique des bruits de domination dans <em>La Com\u00e9die humaine<\/em>. <em>ATRAS Revue, 7<\/em>(1), 456-471.<\/h3><\/div><\/div>\n\n\n\n<div id=\"section-g-xxoep8i\" class=\"wp-block-gutentor-e1 section-g-xxoep8i gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\"><strong>DOI:&nbsp;<br><a href=\"https:\/\/doi.org\/10.70091\/Atras\/vol06no01.1\"><\/a><a href=\"https:\/\/doi.org\/10.70091\/Atras\/vol07no01.31\">https:\/\/doi.org\/10.70091\/Atras\/vol07no01.31<\/a><\/strong><\/p><\/div><\/div>\n\n\n\n<div id=\"section-gab90ba\" class=\"wp-block-gutentor-e0 section-gab90ba gutentor-element gutentor-element-advanced-text\"><div class=\"gutentor-text-wrap\"><h2 class=\"gutentor-text\"><strong>References<\/strong>:<\/h2><\/div><\/div>\n\n\n\n<div id=\"section-gd112da\" class=\"wp-block-gutentor-e1 section-gd112da gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Attali, J. (2013). Listening. In M. Bull (Ed.), <em>Sound studies<\/em> (Vol. 1, pp. 3\u201320). Routledge.<br>Bala\u00ff, O. (2003). <em>L\u2019espace sonore de la ville au XIXe si\u00e8cle<\/em>. \u00c9ditions \u00c0 la crois\u00e9e.<br>Balzac, H. de. (1976\u20131981). <em>La Com\u00e9die humaine<\/em> (P. Citron, Ed.; Vols. 1\u201312). Gallimard.<br>Barthes, R. (1982). \u00c9coute. In <em>L\u2019obvie et l\u2019obtus: Essais critiques<\/em> (Vol. 3, pp. 217\u2013230). \u00c9ditions du Seuil.<br>Castanet, P. (1996). <em>Le bruit: Essai sur l\u2019histoire sociale des sons<\/em>. Albin Michel.<br>Collet, S. (2009). La voix, objet analytique? Des <em>\u00c9tudes analytiques<\/em> \u00e0 <em>La Com\u00e9die humaine<\/em>. In C. Barel-Moisan &amp; C. Couleau (Eds.), <em>Balzac: L\u2019aventure analytique<\/em> (pp. 177\u2013194). \u00c9ditions Christian Pirot.<br>Guimond, D. (2007). The sounds of disappearance. <em>Interm\u00e9dialit\u00e9<\/em>, (10), 115\u2013130.<br>Lowe, D. M. (1982). <em>History of bourgeois perception<\/em>. University of Chicago Press.<br>Lyon-Caen, B. (2006). <em>Balzac et la com\u00e9die des signes: Essai sur une exp\u00e9rience de pens\u00e9e<\/em>. Presses universitaires de Vincennes.<br>Nancy, J-L. (2002). <em>\u00c0 l\u2019\u00e9coute<\/em>. Galil\u00e9e.<br>Richer, J.-F. (2007). Le pied nu, la botte et l\u2019escarpin: Les bruits de pas dans <em>La Com\u00e9die humaine<\/em> d\u2019Honor\u00e9 de Balzac. In <em>Ce qu\u2019on entend au XIXe si\u00e8cle<\/em> (Conference proceedings).<br>Richer, J.-F. (2025). <em>Entre la cloche et les sanglots: Sonocritique de La Com\u00e9die humaine d\u2019Honor\u00e9 de Balzac<\/em>. Presses de l\u2019Universit\u00e9 de Montr\u00e9al.<br>Schafer, R. M. (1983). <em>Le paysage sonore et la musique du monde<\/em>. VLB \u00c9diteur.<br>Schafer, R. M. (1994). <em>The soundscape: Our sonic environment and the tuning of the world<\/em>. Destiny Books. (Original work published 1977)<br>Westphal, B. (2007). <em>La g\u00e9ocritique: R\u00e9el, fiction, espace<\/em>. \u00c9ditions de Minuit.<\/p><\/div><\/div>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"145\" height=\"50\" src=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2025\/01\/image.png\" alt=\"\" class=\"wp-image-2538\" style=\"width:119px;height:auto\"\/><\/figure>\n\n\n\n<div id=\"section-g-6264hl4\" class=\"wp-block-gutentor-e1 section-g-6264hl4 gutentor-element gutentor-element-advanced-text text-align-justify-desktop\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Copyright for all articles published in&nbsp;<strong>ATRAS&nbsp;<\/strong>belongs to the author. The authors also grant permission to the publisher to publish, reproduce, distribute, and transmit the articles.&nbsp;<strong>ATRAS&nbsp;<\/strong>publishes accepted papers under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) License. Authors submitting papers for publication in&nbsp;<strong>ATRAS&nbsp;<\/strong>agree to apply the CC BY-NC 4.0 license to their work. For non-commercial purposes, anyone may copy, redistribute material, remix, transform, and construct material in any media or format, provided that the terms of the license are observed and the original source is properly cited.<\/p><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Son (ou Monde sonore), stylistique, domination sociale, bruit (ou Fracas), s\u00e9miosis<\/p>\n","protected":false},"author":2,"featured_media":3512,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[926],"tags":[1048,1046,1049,1045,1047],"class_list":["post-3619","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-vol-07-n01-2026","tag-bruit-ou-fracas","tag-domination-sociale","tag-semiosis","tag-son-ou-monde-sonore","tag-stylistique"],"gutentor_comment":0,"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Article 31 Issue 01 vol 7 January 2026 - 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