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      소시오토프의 탐험 : 발자크의 『고리오 영감』 = Exploration of sociotopes : Balzac’s Father Goriot

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      https://www.riss.kr/link?id=A107845597

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      다국어 초록 (Multilingual Abstract)

      The sociotope here means a circumscribed space. Such an environment can be observed at specific moments when its culture, spirit and rules of life emerge.The idea here would therefore be to examine this sociotopic dimension in Balzac, through the study of a single novel, one of the best known : Le Père Goriot(Father Goriot), also the one from which Balzac introduces ‘the return of the characters’ which gives unity and coherence in what no longer becomes a collection of stories, but a single and vast work, La Comédie humaine. There we find the Rue Neuve-Sainte-Geneviève, the Chaussée d’Antin and the Faubourg Saint-Germain which are sociotopes, that is to say a geographical space which falls within the order of the map but determined according to the the code socio-cultural. It is not new to notice that the Parisian “topography”, in Balzac, is correct, and that it is skilfully used throughout the story. But there is also a ‘topology’, which we will situate on the side of the connotations socially attributed to the places (while the topography is on the immediate side of the denotation). Whoever masters the language of this topology, is able to maneuver to act in the direction of his interests. But more interesting still, the pervasiveness of the use of space in several forms in this novel makes it very easy to characterize the questions asked of each character in terms of a sociotope. This explains the importance and length of the descriptions in Le Père Goriot. In the same way that the hero must explore the sociotopes, the reader following him, enlightened by the narrator, learns the sociotopic topography and the topology of the sociotopes where the adventures will take place, so as to know more than the character, to appreciate their mistakes and successes. To do this, Balzac uses description as a demonstration, also because the sociotope is a fundamental spring of social, historical and cultural explanation.
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      The sociotope here means a circumscribed space. Such an environment can be observed at specific moments when its culture, spirit and rules of life emerge.The idea here would therefore be to examine this sociotopic dimension in Balzac, through the stud...

      The sociotope here means a circumscribed space. Such an environment can be observed at specific moments when its culture, spirit and rules of life emerge.The idea here would therefore be to examine this sociotopic dimension in Balzac, through the study of a single novel, one of the best known : Le Père Goriot(Father Goriot), also the one from which Balzac introduces ‘the return of the characters’ which gives unity and coherence in what no longer becomes a collection of stories, but a single and vast work, La Comédie humaine. There we find the Rue Neuve-Sainte-Geneviève, the Chaussée d’Antin and the Faubourg Saint-Germain which are sociotopes, that is to say a geographical space which falls within the order of the map but determined according to the the code socio-cultural. It is not new to notice that the Parisian “topography”, in Balzac, is correct, and that it is skilfully used throughout the story. But there is also a ‘topology’, which we will situate on the side of the connotations socially attributed to the places (while the topography is on the immediate side of the denotation). Whoever masters the language of this topology, is able to maneuver to act in the direction of his interests. But more interesting still, the pervasiveness of the use of space in several forms in this novel makes it very easy to characterize the questions asked of each character in terms of a sociotope. This explains the importance and length of the descriptions in Le Père Goriot. In the same way that the hero must explore the sociotopes, the reader following him, enlightened by the narrator, learns the sociotopic topography and the topology of the sociotopes where the adventures will take place, so as to know more than the character, to appreciate their mistakes and successes. To do this, Balzac uses description as a demonstration, also because the sociotope is a fundamental spring of social, historical and cultural explanation.

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      참고문헌 (Reference)

      1 김화영, "프랑스 현대 소설의 탄생: 발자크에서 카뮈까지" 돌베개 71-138, 2012

      2 이은숙, "소통을 지향하는 『고리오 영감』 읽기 - 교양교육으로서의 프랑스 문학 교육 -" 한국프랑스어문교육학회 (31) : 93-111, 2009

      3 김중현, "발자크의 인물들과 세습자본주의 - <고리오 영감>과 <외제니 그랑데>의 인물들을 중심으로" 프랑스학회 (83) : 195-215, 2018

      4 유기환, "라스티냐크의 공간 이동과 텍스트의 의미 -고리오 영감" 프랑스학회 (42) : 135-159, 2007

      5 Mireille Labouret, "À propos des personnages reparaissants. Constitution du personnage et “sens de la mémoire" 6 (6): 125-142, 2005

      6 "http://paris-atlas-historique.fr/resources/paris+1820.pdf"

      7 "http://alpage.huma-num.fr"

      8 "dans le Dictionnaire universel des littératures, publié sous la direction de Béatrice Didier, vol. 3" PUF 3571-3573, 1994

      9 Jean-Daniel Gollut, "Un dilemme communicatif" 3 (3): 341-349, 2004

      10 Nathalie Solomon, "Topographies romanesques" Presses universitaires de Rennes 197-211, 2011

      1 김화영, "프랑스 현대 소설의 탄생: 발자크에서 카뮈까지" 돌베개 71-138, 2012

      2 이은숙, "소통을 지향하는 『고리오 영감』 읽기 - 교양교육으로서의 프랑스 문학 교육 -" 한국프랑스어문교육학회 (31) : 93-111, 2009

      3 김중현, "발자크의 인물들과 세습자본주의 - <고리오 영감>과 <외제니 그랑데>의 인물들을 중심으로" 프랑스학회 (83) : 195-215, 2018

      4 유기환, "라스티냐크의 공간 이동과 텍스트의 의미 -고리오 영감" 프랑스학회 (42) : 135-159, 2007

      5 Mireille Labouret, "À propos des personnages reparaissants. Constitution du personnage et “sens de la mémoire" 6 (6): 125-142, 2005

      6 "http://paris-atlas-historique.fr/resources/paris+1820.pdf"

      7 "http://alpage.huma-num.fr"

      8 "dans le Dictionnaire universel des littératures, publié sous la direction de Béatrice Didier, vol. 3" PUF 3571-3573, 1994

      9 Jean-Daniel Gollut, "Un dilemme communicatif" 3 (3): 341-349, 2004

      10 Nathalie Solomon, "Topographies romanesques" Presses universitaires de Rennes 197-211, 2011

      11 Jacques-David Ebguy, "Sinuosités et circularités : traversée des “sociotopes” dans Le Père Goriot et L’Éducation sentimentale" (323) : 225-247, 2016

      12 Ethel Preston, "Recherches sur la technique de Balzac. Le retour systématique des personnages dans La Comédie humaine" 1984

      13 Noémie Boeglin, "Pour une cartographie romanesque de Paris au XIXe siècle. Proposition méthodologique" 2016

      14 Le Diable à Paris, "Paris et les Parisiens" Jules Hetzel éditeur 1845

      15 Matzat Wolfgang, "L’image de la ville et sa fonction dans Le Père Goriot" 1 (1): 303-315, 2004

      16 Lotte Ferdinand, "Le Retour des personnages dans La Comédie humaine" 227-281, 1961

      17 Pierre Barbéris, "Le Père Goriot de Balzac : Écriture, structures, significations" Larousse 1972

      18 Nicole Mozet, "La description de la Maison Vauquer" 97-130, 1972

      19 José-Luis Diaz, "Introduction" (323) : 7-15, 2016

      20 Michel Butor, "Essais sur le roman" Gallimard 48-58, 1992

      21 Roland Le Huenen, "Dire le territoire, ou comment le discours (balzacien) investit les lieux"

      22 Louis Chevalier, "Classes laborieuses et classes dangereuses à Paris pendant la première moitié du XIXe siècle" Plon 1968

      23 Honoré de Balzac, "Bibliothèque de la Pléiade, 1976-1981, 12 vol"

      24 Anthony R. Pugh, "Balzac. Une poétique du roman, Stéphane Vachon" PUV 123-132, 1996

      25 Jeannine Guichardet, "Balzac, archéologue de Paris" Sedes 1986

      26 Dufour P, "Balzac géographe" Christian Pirot 2004

      27 Félicien Marceau, "Balzac et son monde" Gallimard 1986

      28 Rose Fortassier, "Balzac et le démon du double dans Le Père Goriot" 156-167, 1986

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