Abstract: While Victor Hugo’s Notre-Dame de Paris takes place in medieval Paris, some of his characters are in many ways more representative of the author’s nineteenth-century French society. Written on the eve of the July Monarchy, this novel differs markedly from other French contemporary literary works, such as Balzac’s, that try to represent as realistically as possible the major cultural change experienced in France at the time between, on the one hand, traditional Christian charity models and, on the other hand, certain forms of philanthropy based on social justice principles brought about by the new regime. While Hugo’s male characters are not unlike those of his peers, his representation of female figures of charity is unique. This article studies the ways the novelist portrays charity and female charitable characters through the prism of allegory twenty years before the allegory of charity became a prevalent topic in French painting. (In French)

中文翻译：

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十九世纪的法国风情画作和法国的罗马风情画集：巴黎圣母院的维克多·雨果（Esmeralda dans）慈善人物

摘要：虽然维克多·雨果（Victor Hugo）的巴黎圣母院（Notre-Dame de Paris）发生在中世纪的巴黎，但他的某些角色在许多方面更能代表作者的19世纪法国社会。这部小说创作于七月君主制的前夕，与其他法国当代文学作品（例如巴尔扎克的作品）明显不同，后者试图尽可能现实地代表法国在一方面经历传统文化之间的重大文化变革。基督教慈善模式，以及基于新政权带来的社会正义原则的某些形式的慈善事业。尽管雨果的男性角色与同龄人没有什么不同，但他对慈善女性形象的表现却是独一无二的。本文研究了小说家通过寓言的角度来描绘慈善和女性慈善角色的方式，二十年前，慈善的寓言成为法国绘画中的流行话题。（法文）