Although Louis-Sébastien Mercier’s Tableau de Paris and Le Nouveau Paris are framed in visual terms, the attention to types of sound in these works is sustained and detailed. Tracing Mercier’s descriptions of different types of sound, for instance noise, human voices, or music, I argue that Mercier offers us a soundscape of pre-Revolutionary and Revolutionary Paris. Sound is used by Mercier as a means of mapping the various topographies of Paris, whether social, cultural, or moral. Through its soundscape, Le Nouveau Paris insists on how much Paris had changed by 1798, and Mercier’s depictions of chaos and cacophony suggest a world out of tune; they also allow us to trace his nostalgia for the Paris which had been swept away by the Revolutionary events.

中文翻译：

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'Cris nouveaux'：Mercier的Tableau de Paris和Le Nouveau Paris中的巴黎音景

尽管路易斯·塞巴斯蒂安·梅西埃（Louis-SébastienMercier）的巴黎大剧院（Tableau de Paris）和巴黎新艺术运动（Le Nouveau Paris）是从视觉角度进行构图的，但这些作品中对声音类型的关注仍在持续和详尽。追溯Mercier对不同类型的声音（例如噪音，人的声音或音乐）的描述，我认为Mercier为我们提供了革命前和革命前巴黎的音景。Mercier使用声音来绘制巴黎各种地形的地图，无论是社会，文化还是道德。Le Nouveau Paris通过其声音景观坚持到1798年巴黎发生了多大变化，而Mercier对混乱和低音的描述暗示着一个不协调的世界。他们还使我们可以追溯他对被革命事件席卷而去的巴黎的怀念。