flaneur


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flaneur

a stroller, watcher, observer. The concept has poetic origins in the work of Charles Baudelaire (e.g. Art in Paris, 1845-62). He used it to encapsulate the new, metropolitan character type of the 1840s: the man in the urban crowd, the man whose outlook is shaped by the mobile gallery of metropolitan existence. The most notable sociological application of the concept is to be found in the work of Walter BENJAMIN (1983). In his Arcades project he presents the city as a labyrinth or a multi-layered social universe. Benjamin plays on the ambiguity of the concept to convey the sense of a stroller-watcher of urban forms as well as a detective or unscrambler of codes. The concept has been criticized by feminists for marginalizing womens distinctive urban experience. Wolff (1985) attempts to retrieve this experience with the concept of the flaneuse, or ‘the woman in the crowd’. Recent work on postmodernism, urban sociology and the sociology of consumption has used the concept offlanerie to refer to looking, observing (social types, configurations and urban milieux), decoding the hieroglyphics of the city (spatial images, architecture, advertising and the general ‘sign economy’) and reading texts and images about the city.
References in periodicals archive ?
E assim, infelizmente, o afeto que o flaneur nutria pela rua do comeco do seculo XX cede lugar, no seculo XXI, ao medo.
This, at least, captures the flaneur as a concept and a cultural icon we can trace back to Baudelaire's celebration of a certain "heroism in decadent ages" ("The Painter of Modern Life" 421).
Given the context of a specifically male definition of the flanerie by Benjamin and the feminist critique of his male-dominated definition, I attach equal weight to the lifestyles of the flaneur and the flaneuse in The Secret Agent.
In the following three sections, I first explore the applicability of coordinating the two fragments of Keats's Hyperion project with the figures of the flaneur and the badaud and then discuss the relationship between protocinematic technologies and poetic practice more generally.
For the perfect flaneur, for the passionate spectator, it is an immense joy to set up house in the heart of the multitude, amid the ebb and flow of movement, in the midst of the fugitive and the infinite.
What the prose poem describes is actually the transformation that takes place in the urban landscape after dark: At night, Parisian windows turn into a gallery of still images offering themselves to the gaze of the flaneur.
Where Baudelaire "connives" with the idea of the man in the crowd, Benjamin contends that it is clear from the text that Poe himself regards it with suspicion, and argues that the particular genius of the story is that "it includes along with the earliest description of the flaneur the figuration of his end." (17) The increased size and rapidity of the crowds, emphasized in the story, dehumanize the people who constitute them, causing them to act mechanically and ensuring there is no place any more for a dawdler, an ambling seeker of the quick-fix emotional purchase which comes from being in the crowd.
The figure of the flaneur was originally used in connection with nineteenth-century Paris, most famously by Walter Benjamin in his analysis of Charles Baudelaire, but has since made its way into postmodern theories as well.
In this sense, we might designate Janos as an archetypical flaneur: Janos does the strolling throughout the film; Janos is always present, observing, witnessing and gazing upon the events; the spectator 'reads' the film through the experience of accompanying Janos.
The 2019 Flaneur Festival featured the presentation of Flaneur Magazine's Taipei-themed issue at the Haus der Kulturen der Welt in Berlin from Aug.
Al modo de una lectura ironica del mundo del arte contemporaneo y de la figura del artista, la novela relee la tradicion del flaneur y las derivas situacionistas por medio de la historia de Cecilio Rave, un hombre que subitamente decide convertirse en artista copiando las performances de Francis Alys.