Abstract
Notre-Dame de Paris is a novel marked by the people’s clamor, the bells’ music and the sounds of battle. In an effort to understand how sounds play a crucial part in the creative process of Hugo’s work, we will analyze chapters of Notre-Dame de Paris relating to “la grand’salle”. During the play and the election of the Pope of Fools (taking place in “la grand’salle”), people originating from all social spheres are gathered in the same space, which is favorable for verbal exchanges that underline the struggles between them – established by the particulars of their speech. In this space, different sounds (rumors, shouts, noises) destroy and reinforce social distances at the same time, creating an evershifting space of boundaries, both physical and social.
Highlights
a novel marked by the people's clamor
how sounds play a crucial part in the creative process of Hugo's work
people originating from all social spheres are gathered in the same space
Summary
Étant donné que les sons qui animent la « grand’salle » sont principalement produits par des voix humaines, nous serons d’abord attentifs aux marqueurs vocaux permettant de cerner les enjeux sonores dans le roman. À ce moment, un important changement a lieu dans la dynamique sonore de la salle, alors que le discours des comédiens remplit l’espace et domine les spectateurs, « cette foule sur laquelle les quatre allégories versaient à qui mieux mieux des flots de métaphores » (ND, 92).
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