Academic literature on the topic 'Flâneuse'
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Journal articles on the topic "Flâneuse"
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Khaidzir, Mohd Fadhli Shah, Ruzy Suliza Hashim, and Noraini Md. Yusof. "Nor Faridah’s Wanderings as Female Flâneur in The Art of Naming." GEMA Online® Journal of Language Studies 21, no. 3 (August 30, 2021): 140–53. http://dx.doi.org/10.17576/gema-2021-2103-08.
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Travellers’ enthusiasm can drive them to explore new locations, especially those that are unknown and foreign to their eyes. Nor Faridah Abdul Manaf's anthology of poetry, The Art of Naming (2006) reflects the people and locations that played a significant role in crafting her poems. Using the role of a flâneur, which is closely related to the theory of psychogeography, we investigate how Nor Faridah, as a flâneuse (a female flâneur), wanders and strolls through the places she reconnoiters, and how her mental and behavioural aspects as a human being are affected by her environment. Her poems depict a strong perception, involvement, and representation of images focused on the immediate encounter of the urban cities visited, which serve as valuable pieces of evidence flâneurs while walking. Based on the analysis, the different places visited by the poet exhibit her values of humanity including empathy, generosity and love. Thus, Nor Faridah’s works illuminate the position of flâneur and flâneuse, demonstrating how spaces, contrary to what is thought to be pointless roaming, actually offer insights into understanding relationship between people and their locations. As a consequence, space and position are dialectically organised in human environmental history, since her sense of space is related to the locations she inhabits, which derive meaning from their spatial significance. Keywords Psychogeography; Flâneur; Flâneuse; Place; Nor Faridah Abdul Manaf
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Cortés Fernández, Orly C. "Ciudad flâneuse: el andar entre la literatura y el arte acción." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 2 (August 29, 2020): 127–43. http://dx.doi.org/10.22201/ffyl.nuevaspoligrafias.2020.2.1382.
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La imagen del flâneur surge a partir de paradigmas masculinos del siglo XIX. Es el concepto de un hombre burgués que recorre la ciudad libremente obteniendo placer y ejerciendo agencia con el andar. Esta definición sigue siendo considerada cuando se estudia la flânerie en las urbes del siglo XXI. No es tal el caso de la mujer urbana, ya que el papel de lo femenino se encuentra tradicionalmente adscrito al espacio privado, siendo la esfera pública considerada como un territorio esencialmente masculino. Es necesario estudiar las diferentes representaciones de las urbes para comprender cómo se proyecta el concepto de flâneuse, la mujer urbana que recorre la ciudad. A partir de un análisis comparatista, se busca mostrar cómo las representaciones artísticas y literarias —tal como la novela El huésped de Guadalupe Nettel y la pieza de arte acción Glorieta de los Insurgentes de Katnira Bello— son fundamentales para la configuración de la figura de la flâneuse en la Ciudad de México.
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Broullón-Lozano, Manuel Antonio. "«Anhelo la libertad de salir sola: ir, venir, sentarme…». La flâneuse entre dos siglos: del XIX a la mujer moderna en la Edad de Plata española." Feminismo/s, no. 37 (January 21, 2021): 81. http://dx.doi.org/10.14198/fem.2021.37.04.
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Pasear es una actividad del cuerpo y de la mirada que implica ocupar el espacio público; hacerse ver y observar. Si hay un prototipo literario de paseante, ese es el flâneur. No pocas voces se han preguntado si, en consecuencia, existe una flâneuse, y cuáles son sus características y condiciones. En este trabajo pretendemos explorar a través de un ejercicio de comparatismo literario, la relación entre la mujer moderna y la flâneuse entre dos siglos (XIX y XX), con tal de comprender cómo las mujeres paseantes que se convierten durante la Edad de Plata de la Literatura Española en el sujeto de enunciación del texto lírico pueden plantear o bien una transformación o bien una disidencia tanto de los modelos de género como de visualidad en el seno de la vida moderna.
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Hermann, Veronika. "Dicsőség a kószálónak. Megjegyzések a flâneur társadalomtörténetéhez." Apertura 15, no. 4 (2020): 1–13. http://dx.doi.org/10.31176/apertura.2019.15.4.4.
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A Charles Baudelaire által létrehozott városi kószáló figurája, vagyis a flâneur Walter Benjamin Párizs, a XIX. század fővárosa című esszéje után az urbánus szubkultúrák ikonikus figurája lett. Azóta a flâneur retorikai alakzata nemzeti, etnikai és társadalmi nemi határokon átívelő karriert futott be. Miközben a modernitásban kialakuló nagyvárosi identitásmodellekről számtalan kutatás született, kevés szó esett arról, hogy a flâneur alakváltozatainak mi köze van az őt kitermelő politikai és társadalmi kontextushoz vagy éppen a társadalmi nemekhez. Ebben a tanulmányban azt vizsgálom, hogyan jelennek meg társadalmi nemi szempontok a flâneur női derivátumaiban (flâneuse), és amellett is érvelek, hogy a modernista szépirodalom nemcsak az elbeszéléstechnikát újította meg, hanem mediális jellege miatt komoly szerepe volt a városi tömegkultúra és az urbánus identitásmodellek kialakulásában.
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Murphy, Amy. "Traces of the Flâneuse." Journal of Architectural Education 60, no. 1 (September 2006): 33–42. http://dx.doi.org/10.1111/j.1531-314x.2006.00058.x.
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Harvey, Melinda. "From Passante to FlÂneuse." Journal of Urban History 27, no. 6 (September 2001): 746–64. http://dx.doi.org/10.1177/009614420102700604.
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Caputa, Sonia. "Californian Flânerie in Karolina Waclawiak’s How to Get into the Twin Palms." Postscriptum Polonistyczne 27, no. 1 (June 30, 2021): 155–69. http://dx.doi.org/10.31261/https://doi.org/10.31261/ps_p.2021.27.09.
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Unlike most of the immigration novels created by contemporary Polish American female writers, How to Get into the Twin Palms written by Karolina Waclawiak, does not focus on the hardships of assimilation into American culture but depicts experiments with ethnic cross-dressing. Waclawiak, a representative of the so-called one-and-a half generation of Polish immigrants from the 1980s Solidarity wave, reinvents the immigration story as her protagonist, Zosia, a Polish American resident of Los Angeles, yearns to become Russian in order to be granted entrance to the mysterious and appealing Russian nightclub. The protagonist’s transformation into Anya goes hand in hand with her exploration of the City of Angels, thepostmodern megalopolis with neon lights and pavements reaching the horizon. Thus, Zosia/Anya becomes a Californian flâneuse, the urban scrutinizer and strolling observer of the what is known as the most photographed but least photogenic city in the United States. In this context, the main aim of this presentation will be to explore Californian flânerie in Waclawiak’s novel: while walking down the city streets the narrator flâneuse reflects on her home (Polish) culture, underscores her status as an immigrant outsider, and delves into the questions of alienation as well as defamiliarization. Hence, one may assume that flânerie itself contributes to the transformation of Waclawiak’s protagonist.
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Çiçekoğlu, Feride. "Sabiha, une flâneuse dans la ville." La pensée de midi N° 29, no. 3 (November 1, 2009): 90–101. http://dx.doi.org/10.3917/lpm.029.0090.
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Resende, Letícia Campos de. "Montagem literária em Journal du dehors, de Annie Ernaux / Literary Montage in Annie Ernaux’s Journal du dehors." Caligrama: Revista de Estudos Românicos 26, no. 3 (December 27, 2021): 41. http://dx.doi.org/10.17851/2238-3824.26.3.41-63.
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Resumo: Este artigo tem o objetivo de fazer uma reflexão sobre o livro Journal du dehors, de Annie Ernaux (2012), à luz principalmente de algumas reflexões de Walter Benjamin (1989, 1993, 2019) sobre a montagem literária no volume II das Passagens (Das Passagen-Werk). Comparo o trabalho da autora ao trabalho de uma trapeira e flâneuse do fim do século XX, que vai buscar, em outras formas de mediação, uma nova compreensão do capitalismo e das manifestações da economia na cultura. Ao longo do artigo, tentei realizar uma assemblage de reflexões fragmentárias sobre obras literárias direta ou indiretamente relacionadas ao meu objeto de estudo. Assim, começo o texto apresentando uma reflexão rápida sobre as figuras do trapeiro (chiffonnier) e do flâneur em Baudelaire e, em seguida, passo a Journal du dehors, intercalando a essa análise um breve comentário sobre Nadja, de André Breton (2011), que, além de citada por Ernaux (2012), se aproxima temática e formalmente de Journal du dehors.Palavras-chave: montagem literária; Annie Ernaux; Walter Benjamin.Abstract: This article aims to analyze the book Journal du dehors, by Arnie Ernaux (2012), in light of Walter Benjamin’s (1989, 1993, 2019) reflections on the “literary montage”, as expressed in the second volume of his unfinished work Passages (Das Passagen-Werk). I will attempt to compare Ernaux’s work to that of a “chiffonnière” and “flâneuse” from the XXth century, who goes in search of a new understanding of capitalism and of economy’s manifestation in culture through different ways of mediation. This article takes the form of an “assemblage” of fragmentary reflections on other works of literature that could potentially be associated to Journal du dehors. I begin my text briefly reflecting on how the chiffonnier and the flâneur are presented in Baudelaire’s poetry. I then go on to analyze Journal du dehors, interspersing my analysis with a brief commentary on André Breton’s (2011) Nadja, not only because it is mentioned in Ernaux’s text (2012), but also because its structure and themes can be associated to those of Journal du dehors.Keywords: literary montage; Annie Ernaux; Walter Benjamin.
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Hung, Dorothy Tse Hiu, and Natascha Bruce. "The Flâneur/Flâneuse and the Multiple “I”s of the “Local” in Xi Xi’s I City." Chinese Literature Today 8, no. 1 (January 2, 2019): 50–57. http://dx.doi.org/10.1080/21514399.2019.1605254.
Full textDissertations / Theses on the topic "Flâneuse"
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Takahara, Yukiko. "Colette entre sédentarité et nomadisme : l'écriture d'une flâneuse." Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10082.
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Nous étudions, dans cette étude, la thématique du voyage chez Colette, et ses ambivalences. La première partie est consacrée à l'étude de la représentation des lieux : nous examinons notamment le rôle de la flânerie et de la mémoire. Dans la deuxième partie, nous nous intéressons à la description du cheminement aussi bien métaphorique que concret : nous étudions d'abord les différents modes des déplacements mentaux, ensuite le rapport ambivalent entre la lenteur et la poétique de voyage de l'écrivain. Enfin, dans la troisième et dernière partie, nous examinons la figure des voyageurs et son rapport avec la sédentarité : nous analysons tout d'abord la représentation des nomades et des sédentaires dans les romans, puis le désir de l'enracinement qui est très présent dans l'évocation des propriétés que Colette a possédées successivement en province. Nous cherchons ainsi à mettre en lumière le rapport entre la poétique de son oeuvre et le voyage.
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MacPherson, Sandra. "From Spectator to Citizen: Urban Walking in Canadian Literature, Performance Art and Culture." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37321.
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This dissertation examines urban walking in Canada as it deviates from a largely male peripatetic tradition associated with the flâneur. This new incarnation of the walker—differentiated by gender, race, class, and/or sexual orientation—reshapes the urban imaginary and shifts the act of walking from what is generally theorized as an individualistic or simply transgressive act to a relational and transformative practice. While the walkers in this study are diverse, the majority of them are women: writers Dionne Brand, Daphne Marlatt, Régine Robin, Gail Scott, and Lisa Robertson and performance artists Kinga Araya, Stephanie Marshall, and Camille Turner all challenge the dualism inscribed by the dominant (masculine) gaze under the project of modernity that abstracts and objectifies the other. Yet, although sexual difference is often the first step toward rethinking identities and relationships to others and the city, it is not the last. I argue that poet Bud Osborn, the play The Postman, the projects Ogimaa Mikana, [murmur] and Walking With Our Sisters, and community initiatives such as Jane’s Walk, also invite all readers and pedestrians to question the equality, official history and inhabitability of Canadian cities. As these peripatetic works emphasize, how, where and why we choose to walk is a significant commentary on the nature of public space and democracy in contemporary urban Canada. This interdisciplinary study focuses on Vancouver, Toronto and Montreal, cities where there has been not only some of the greatest social and economic change in Canada under neoliberalism but also the greatest concentration of affective, peripatetic practices that react to these changes. The nineteenth-century flâneur’s pursuit of knowledge is no longer adequate to approach the everyday reality of the local and contingent effects of global capitalism. As these walkers reject an oversimplified and romanticized notion of belonging to a city or nation based on normative identity categories, they recognize the vulnerability of others and demand that cities be more than locations of precarity and economic growth. This dissertation critically engages diverse Canadian peripatetic perspectives notably absent in theories of urban walking and extends them in new directions. Although the topic of walking suggests an anthropocentrism that contradicts the turn to posthumanism in literary and cultural studies, the walkers in this study open the peripatetic up to non-anthropocentric notions as the autonomous subject of liberal individualism often associated with the male urban walking tradition is displaced by a new focus on the interdependent, affective relation of self and city and on attending to others, to the care of and responsibility for others and the city.
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El, Hajj Sleiman Y. "I am not naked : a fictional and theoretical exploration of home and the flâneuse in 21st-century Lebanon and Syria." Thesis, University of Gloucestershire, 2017. http://eprints.glos.ac.uk/4805/.
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This thesis mainly consists of two artifacts: a creative text followed by literary criticism. The research draws on the theoretical intervention of the flâneuse I have posited as a way of reading home in fiction. Not withstanding commentaries on the flâneur in the social sciences and cultural studies, no literary study yet has posited the connection between flânerie and home, let alone theorized the notion of the flâneuse as a subversive figure that can be deployed in creative, and then critical, writing to make intelligible the possible variants of home in the present-day fictions of Lebanon and Syria. I thus propose a redefinition of the term in a way that may also apply to readings of the trope in a literary text: I read the flâneuse as a determined woman whose acts of street-walking, or of movement from one place to another, are enacted on two levels in such a way that her physical journeys – in search of, or as a return to, her own conceived notion of home – intersect with an emotional itinerary that traces her development against, and resistance to, a backdrop of patriarchy and conflict. My PhD novel, I Am Not Naked, is a first in marrying the Lebanese and Syrian contexts and in appraising the subversive quests for home of their fictional female characters, both heterosexual and non-heterosexual, from the theoretical lens of the “flâneuse,” against the setting of two civil wars, the Lebanese Civil War (1975—1990) and the Syrian Civil War (2011—present). In the second section of the thesis, I shift rhetorical gear from creative to critical discourse in order to situate the novel, and henceforth its analysis of home and patriarchy that I read through the different theoretical imports that attach to the flâneuse, in relation to new creative narratives from Lebanon and Syria. Hence, in reference to three novels in which the trope can be culled – I Am Not Naked (Sleiman El Hajj, 2016, Lebanon and Syria), Cinnamon (Samar Yazbek, Syria, 2012), and An Unnecessary Woman (Rabih Alameddine, Lebanon, 2013) – I argue that the notion of the flâneuse I have postulated is reified in characters who defy patriarchy by employing flânerie as a multilayered vector for fulfilling the homing desire that drives their respective journeys. Necessarily, I hyphenate the intervention with relevant strands of criticism to better invigorate my reading of home-as-emotional-space, as opposed to a fixed place, in the three novels, hence the feminist flâneuse, the postcolonial flâneuse, and the queer flâneuse, terms unused in previous scholarship. My thesis also contributes to the nascent body of creative writing on the Syrian Civil War and the refugee crisis, and supplements the growing interdisciplinary corpus of research on (mostly male) homosexuality from a queer-female literary angle, given my novel’s focus, in part, on same-sex female affects through its characterization of Teta – a queer Arab grandmother figure – a representation still unexplored in extant Lebanese and Syrian literature of the 21st century.
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Wiebe, Christopher David. "Flâneur." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq21146.pdf.
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Bota, Olivia-Iona. "Apollinaire ou la flânerie esthétique." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040011.
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En tant que phénomène urbain, la flânerie apparaît une fois avec les bouleversements socio-économiques du XIXe siècle. Bien qu’associée à une déambulation gratuite et désœuvrée, elle institue cependant une approche nouvelle et fragmentaire de la ville. Le changement de perspective sur la rue entraîne aussi un changement de perspective sur l’art et la littérature. Ainsi, un Balzac ou un Baudelaire se montre particulièrement intéressé par la figure paradoxale et flottante du flâneur. Dans une possible généalogie du concept se place aussi la création hétéroclite et inclassable de Guillaume Apollinaire. La passion de l’écrivain pour la brocante et les faits divers, pour les histoires insolites et les personnages exceptionnels détermine la critique littéraire à lui appliquer l’étiquette péjorative de flâneur. En partant de ce cliché de la réception, notre thèse se propose de démontrer que la flânerie, chez Apollinaire, ne représente pas seulement un rapport à l’espace, mais aussi une manière d’être et de penser. À travers une analyse formelle, thématique et poétique de l’oeuvre théorique et littéraire de l’écrivain, nous envisageons donc de montrer que la flânerie constitue un thème, une méthode et un principe esthétique valides. Sans être négative, la flânerie se veut plutôt la métaphore d’une œuvre en perpétuelle métamorphose où le décentrement, la discontinuité et l’hétérogénéité ne représentent pas de notions dépréciatives, mais de vrais piliers esthétiquesAs urban phenomenon, “flânerie” appears together with socio-economic changes of the nineteenth century. Although associated with a factice wandering, it introduces a new and fragmented approach of the city. The change of perspective on the street also leads to a change of perspective on art and literature. Thus, a Balzac or a Baudelaire is particularly interested in the paradoxical and floating figure of the “flâneur”. In a possible genealogy of the concept, a special place is taken by the diverse and unclassifiable creation of Guillaume Apollinaire. The writer’s passion for “brocanteurs” and trivia as for unusual stories and exceptional characters determines literary criticism to apply him the pejorative label of “flâneur”. Based on this cliché of the critical reception, our thesis is to demonstrate that “flânerie”, for Apollinaire, defines not only a relation to space, but also a way of being and thinking. Through formal, thematic and poetic analysis of the writer’s literary and theoretical work, we plan to prove that “flânerie” is a theme, a method and a valid aesthetic principle. Without being negative, “flânerie” is rather the metaphor of a work in perpetual metamorphosis where collage, discontinuity and heterogeneity are not derogatory concepts, but true aesthetic pillars
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Pessanha, Elaine Durigam Ferreira. "Gonzaga Duque: um flâneur brasileiro." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-30092008-173647/.
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Nesta dissertação apresenta-se uma biografia de Gonzaga Duque, comentários de suas obras, uma fortuna crítica, cujo conteúdo expressa os comentários e estudos feitos por importantes críticos, reconhecendo a importância literária de Gonzaga Duque, sua produção textual, suas tentativas como um artista preocupado com a propagação da arte e suas evoluções, ou mesmo constatando sua existência entre os consagrados pelo paideuma (Machado de Assis, Cruz e Souza, entre outros nomes), sem estar oficialmente presente nesta seleção. Analisou-se o romance de Mocidade morta: sua estrutura textual, seu aspecto simbolista e sua estética, sua crítica à arte e à política da época e suas personagens. Procurou-se demonstrar a importância deste observador da sociedade brasileira, que o menosprezou por não pertencer aos grupos políticos em destaque, sendo um autor corajosamente diferencial e boêmio.In this paper its been presented a biography of Gonzaga Duque, comments about his works, a fortunate criticism which contents express the comments and studies done by important critics, recognizing the literary importance of Gonzaga Duque, as well as, his textual production, his attempts as an artist worried about the spread of arts e its evolution or even finding out his existence among the prestigious writers by paideuma (Machado de Assis, Cruz e Souza among other names) even without being included in that list. Its been analysed the novel Mocidade morta: its textual structure, its symbolist aspect and aesthetics, its criticism to arts and politics at that time and its characters. Its been demonstrated the importance of this watcher of brazilian society, that despised him because he didnt belong to the most prestigious political groups, being a brave and Bohemian author.
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Costa, Anderson da. "A flânerie como prática surrealista em Nadja." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/95363.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Literatura, Florianópolis, 2011Made available in DSpace on 2012-10-26T00:40:47Z (GMT). No. of bitstreams: 1 297828.pdf: 1171830 bytes, checksum: 50c6f4b6f1461d8cfe9fb9d3c0a8fe2e (MD5)
A presente tese é um trabalho que se articula sobre dois eixos. O primeiro propõe estabelecer uma relação entre a flânerie praticada no século XIX e aquela praticada no século seguinte pelo surrealismo. Flânerie que adquire outros contornos quando apropriada pelos surrealistas, que farão dela uma prática de poetização do cotidiano, a qual ambiciona a fusão entre real e imaginário enquanto tentativa da libertação total do homem. O outro eixo no qual se articula essa tese se refere à tradução de um excerto de Nadja, obra de André Breton, no qual a temática da flânerie e dos preceitos fundamentais do surrealismo se faze presente. Nadja foi publicada originalmente em 1928 na França, e conta com duas traduções no Brasil. A primeira editada pela extinta Editora Guanabara em 1987 e a segunda pela Editora Cosacnaify em 2007, ambas trazendo o mesmo tradutor. A tradução do trecho da obra de Breton baseia-se na teoria da tradução de Antoine Berman e procura estabelecer diálogo com as traduções anteriores, além de procurar compreendê-las enquanto inserção no contexto de recepção do surrealismo no Brasil.
Il s#agit d#une investigation développée sur deux axes principaux. On établit des rapports entre la flânerie pratiquée au XIXe siècle et le surréalisme au XXe siècle. En fait, une flânerie qui présente des contours différents chez les surréalistes. Pratiquée selon un processus de poétisation de chaque jour, dont on constate le tentative de fusion entre le réel et l#imaginaire par le biais de la libération totale de l'homme. Cette même thèse est explicitée lors de la traduction d'un extrait de Nadja, oeuvre d'André Breton, dont la flânerie et les questions fondamentaux du surréalisme sont présents. Nadja a été publié en 1928 en France. Au Brésil, il existent deux traductions, la première lancée par la maison d#édition Guanabara en 1987 et la seconde par Cosacnaify en 2007, toutes les deux réalisées par le même traducteur. La traduction de l#extrait de Nadja, proposée dans cette recherche, a été soutenue par la théorie de la traduction d'Antoine Berman et cherche à établir des rapport avec les traductions précédentes, de façon à les comparer et mieux les comprendre dans dans le contexte de la réception du surréalisme au Brésil.
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Wang, Shao-Hua. "Mind the gap : flânerie in Baudelaire and Woolf." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:9a28615d-6b38-4940-adc8-0acee67ebcc8.
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This research stems from an interest in the role of the flâneur and his interaction with the city. The flâneur has been theorised as one of the most prominent figures in understanding modernity. This study draws upon two well-known modernist writers, Baudelaire and Woolf, using their literary flânerie to understand modernity from a twenty-first-century vantage point. The purpose of this thesis is to interrogate and reinterpret the notion of modernity: experience of modernity is that of spatiotemporal dislocation, a sense of in-betweenness that can be likened to the gap between a train and the platform. From the gap imagery, this thesis explores the paradoxical nature of modernity demonstrated in the writing of Baudelaire and Woolf. While existing studies have discussed the theme of flânerie extensively, the discourse is dominated by Benjaminian assumptions, which results in a visuo-centric bias. With recourse to Merleau-Ponty's phenomenology, this thesis provides a more holistic understanding of the intertwining relationship between the flâneur, the city, the writer, and the text. Comparing the flâneur to a writerly device, this study explains how the flâneur offers the writer a novel perspective on the city. The aim of the writer's manipulation of the flâneur is to approach what I call line-scape. This notion designates an ideal literary horizon which the writer constantly endeavours to reach, to no avail. Various implications of line-scape are investigated, most notably through landscape painting tradition, to highlight the way in which the writer deploys the flâneur figure as an implied observer of line-scape. Translation theories and phenomenology-inspired studies are also incorporated into the research. Ultimately, flânerie as a clue to line-scape takes part in the current literary landscape, allowing for a revaluation of modernist writing, engendering novel interpretations of the act of walking, and renewing interest in modernity and the city.
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Biondillo, Rosana [UNIFESP]. "Walter Benjamin e os caminhos do flâneur." Universidade Federal de São Paulo (UNIFESP), 2014. http://repositorio.unifesp.br/handle/11600/39273.
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Este trabalho tem como objeto de estudo o flâneur no pensamento de Walter Benjamin. Nos concentraremos especialmente no seu modelo de existência que atesta a crise da experiência na modernidade – modelo este caracterizado tanto pelo declínio da experiência tradicional (Erfahrung) como pelo surgimento da vivência do choque (Chockerlebnis). Em consequência dessa crise, o flâneur tornase o retrato do intelectual/artista que precisa refletir sobre sua própria situação histórica para que possa compreender e tentar redefinir seu papel e sua atuação sociais sob pena de sucumbir às demandas do mercado no cenário capitalista pósRevolução Industrial, marcado pelos meios de produção e por mudanças na percepção humana com o avanço da técnica e da urbanização no século XIX e início do XX. Como um tipo que vive no limiar (Schwelle) entre o passado histórico – representado pelo tempo da tradição e da transmissão de experiências coletivas duradouras e compartilháveis – e o presente – representado pela vivência do choque, que marca o tempo moderno da imediatez, da repetição, da reprodução incessante e do consumo que transforma todas as coisas em mercadorias – Benjamin apresenta o flâneur como aquele que ainda dispõe de fragmentos da verdadeira experiência histórica e, por reconhecer a distância que o afasta dessa experiência, ele representa a busca por uma consciência histórica atual.
The aim of this research is the flâneur in Walter Benjamin's thought. We will look specially upon his model of existence which testifies modernity's experience crisis characterized by the decline of the traditional experience (Erfahrung) as well as the arising of chock experience (Chockerlebnis). In the account of this crisis, the flâneur becomes the portrait of the intellectual/artist who needs to rethink upon his own historical position in order to comprehend and remodel his role as well as social behavior, otherwise he may fall into the market demands in a capitalistic postIndustrial Revolution scenario, labelled by the means of production and by the changes in human perception derived from technical advancement and reurbanization in the nineteenth century and beginning of the twentieth. As a type living in between historical past – represented by time of tradition and transmission of long lasting and sharing collective experiences – and present – represented by shock experience which conceives modern time as immediacy, repetition, uninterrupted reproduction, and consumption which transforms everything into commodities – Benjamin presents the flâneur as the one who still disposes of fragments of real historical experience, and that by recognizing the distance which sets him apart from this same experience, he represents the quest for real historical conciousness.
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Fleischer, Ulrike. "Siegfried Kracauer and Weimar culture : modernity, flânerie, and literature." Thesis, University of Nottingham, 2001. http://eprints.nottingham.ac.uk/12045/.
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This thesis is concerned with Siegfried Kracauer’s response to the challenges of modernity as exemplified by the Weimar Republic and its culture. A consideration of the literary dimension of Kracauer’s work is a central aspect of my approach. Beginning with a brief examination of Kracauer s early, epistemological writings, which adopt an anti-modem tone, my thesis then examines his shift towards a materialist critique of modernity. Using his essay 'Das Ornament der Masse' as a key example, I argue that Kracauer assumes the stance of a flâneur vis-à-vis the culture he examines. While this is consistent with his role as a Feuilleton journalist, the flâneur's detachment compromises Kracauer's political position. Here, and throughout the thesis, Kracauer's narrative approach and its effects are drawn out through comparisons with contemporary literary texts. In the remaining three chapters of my thesis, I analyse the novels Ginster and Georg, as well as the sociological study Die Angestellten. Here, I suggest, Kracauer attempts to transcend the limitations imposed by the flâneur's detachment. In Ginster he critically reflects on his own personal and political development while Die Angestellten is an attempt at social intervention. In Georg, finally, Kracauer returns to exploring crucial factors of Weimar (political) culture and considers his own role, as a journalist, within them.
Books on the topic "Flâneuse"
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Carnet d'une flâneuse à New York: Mes meilleures adresses. Montréal: Éditions La Presse, 2013.
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Le flâneur et les flâneuses: Les femmes et la ville à l'époque romantique. Grenoble: ELLUG, Université Stendhal, 2007.
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Nesci, Catherine. Le flâneur et les flâneuses: Les femmes et la ville à l'époque romantique. Grenoble: Ellug, 2007.
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Comfort, Kelly, and Marylaura Papalas. New Directions in Flânerie. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003164791.
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d', Amat Benoît, and Jones Paul 1965-, eds. Paris, carnets d'un flâneur. Paris: Parigramme, 2008.
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Quentin, Bajac, and Brassaï, eds. Brassaï: Le flâneur nocturne. Paris]: Gallimard, 2012.
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Lasczik Cutcher, Alexandra, and Rita L. Irwin, eds. The Flâneur and Education Research. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72838-4.
Full textBook chapters on the topic "Flâneuse"
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Mata, Karen Anne. "Songs of Apple: The Flâneuse in Nocturnal Tokyo." In Nocturnes: Popular Music and the Night, 193–203. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-99786-5_13.
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Fisher, Jane Elizabeth. "The Flâneuse: Seeing and Remembering the Shock of Modernity." In Envisioning Disease, Gender, and War, 27–38. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1007/978-1-137-05438-8_2.
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Phillips, Alastair, and Jennifer Wallace. "Beyond the flâneuse The Uniqueness of Cléo de 5 à 7." In Paris in the Cinema, 125–35. London: British Film Institute, 2017. http://dx.doi.org/10.1057/978-1-84457-820-7_12.
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Blum-Reid, Sylvie. "Rebels and Flâneuses." In Traveling in French Cinema, 125–57. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137553546_7.
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González, Darío Sánchez. "Cruising Flânerie." In New Directions in Flânerie, 152–72. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003164791-7.
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Glazier, Jeremy. "Vampiric Flânerie." In New Directions in Flânerie, 216–35. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003164791-10.
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Dawson, Josh. "Dystopic Flânerie." In New Directions in Flânerie, 73–88. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003164791-3.
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Brydon, Lavinia, Bibi Burger, and Louis Rice. "Practicing Flânerie." In New Directions in Flânerie, 236–64. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003164791-11.
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Nunn, Tessa Ashlin. "Necrophilic Flânerie." In New Directions in Flânerie, 53–72. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003164791-2.
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Cleger, Osvaldo. "Virtual Flânerie." In New Directions in Flânerie, 196–215. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003164791-9.
Full textConference papers on the topic "Flâneuse"
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Torrecilla Patiño, Elia. "El fotógrafo como encarnación del flâneur: del “daguerrotipo andante” al phoneur en el espacio híbrido ." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6633.
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Partiendo de la metáfora fotográfica empleada por Fournel (1857:268) en la que describe la figura del flâneur como “daguerrotipo andante”, se propone una actualización del fotógrafo encarnado en el prototipo de paseante moderno, desde su nacimiento en el París del siglo XIX hasta el espacio híbrido actual. El daguerrotipo, que requería un proceso de largos tiempos de exposición que influía en la quietud de los propios modelos para la obtención de una obra única, contrasta con la fotografía actual, mucho más “móvil” y múltiple que entonces. El fotógrafo recorre las calles acompañado de su cámara fotográfica en busca del acontecimiento urbano. Haciendo uso de la tecnología, registra sus impresiones ante la multiplicidad de estímulos que se producen en la metrópolis, y precisamente porque la fotografía es un arte propio de aquellos que se mueven, que caminan, al fotógrafo se le ha relacionado en numerosas ocasiones a la figura del flâneur, figura paradigmática de la experiencia moderna. En palabras de Susan Sontag (2005:55), “el fotógrafo es una versión armada del paseante solitario que registra, acecha y navega por el infierno urbano”. La ciudad es un cuerpo en continuo cambio formado por múltiples capas que son experimentadas, en su mayoría, a través del sentido de la vista, aunque en la deambulación, todos los sentidos se activan para apropiarse de la ciudad y resignificarla. En El pintor de la vida moderna Baudelaire (1840) ofrece un retrato del flâneur que es descrito por el propio poeta como una especie de hombre-ojo, donde el ojo es una cámara que registra todo lo que observa a través de su ojo-lente. En este sentido, la metáfora del flâneur como “daguerrotipo andante” hace visible la pulsión de convertir el ojo en el centro de la civilización moderna, además de las propias similitudes que existen entre el ojo y la cámara, ambos, sistemas capaces de producir imágenes reales. En la actualidad, la incorporación de las cámaras fotográficas en los teléfonos móviles, hace todavía más evidente la extensión del ojo como cámara. El flâneur-fotógrafo tiene ahora la posibilidad de capturar todo aquello que sucede a su alrededor, con la mirada fija en la pantalla de su dispositivo mientras su cuerpo se mueve callejeando. Si la experiencia que el flâneur moderno obtenía de la ciudad era una amalgama de estímulos que producía un estado narcotizante, el actual, que deambula por el espacio híbrido, experimenta una sensación caleidoscópica derivada de la sobreestimulación que proviene tanto desde la esfera física como de la digital. De esta manera, haciendo uso del teléfono móvil, registra cada instante a través de la cámara fotográfica y lo hace público compartiendo instantáneas urbanas en tiempo real. Un paseante híbrido prolongado por la tecnología (McLuhan, 1996), un flâneur que, retomando la propuesta de Robert Luke (2001), deviene phoneur, esta vez actualizado en una figura más móvil y en una versión posmoderna: un cronista y fotógrafo de la ciudad híbrida que muestra el acontecimiento urbano a través de unas fotografías que sirven como mapas y se convierten en pantallas, transformando al mundo en una especie de imagen, en un contexto de escenas o situaciones (Flusser, 2009). Siguiendo estas premisas, se realiza un enfoque de la figura del fotógrafo encarnado en flâneur, con el objetivo de indagar en la práctica fotográfica (móvil) y su relación con el caminar como experiencia estética.
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MENEZES, Thaís, Amanda Gabrielle de Queiroz COSTA, and Vítor Domício de MENESES. "O FLÂNEUR COMO OBSERVADOR DA CIDADE: LEITURA URBANA DO CENTRO DE FORTALEZA." In Anais da Mostra de Pesquisa em Ciência e Tecnologia. Recife, Brasil: Even3, 2018. http://dx.doi.org/10.29327/13552.9-35.
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Guan, Beibei. "The Flâneur: An Aesthetic Urban Voyager or an Accomplice of Commodity Capitalism?" In IPEC 2021: 2021 2nd Asia-Pacific Conference on Image Processing, Electronics and Computers. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3452446.3452475.
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Argin, Gorsev, Burak Pak, and Handan Turkoglu. "Post-flâneur in Public Space Altering walking behaviour in the era of smartphones." In 37 Education and Research in Computer Aided Architectural Design in Europe and XXIII Iberoamerican Society of Digital Graphics, Joint Conference (N. 1). São Paulo: Editora Blucher, 2019. http://dx.doi.org/10.5151/proceedings-ecaadesigradi2019_182.
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Tang, Chih-chun. "Observer, Participant, or Creator?: The Flâneur in Thomas Hardy’s “The Walk” and “Beeny Cliff”." In 2nd Annual International Conference on Language, Literature and Linguistics (L3 2013). Global Science and Technology Forum Pte Ltd, 2013. http://dx.doi.org/10.5176/2251-3566_l313.60.
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Luengo López, Jordi. "El Sena de Marcel Prévost. Atracción poética en las aguas del infortunio social." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3030.
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Las arterias de la ciudad de París concluyen en el río Sena, que, con sigilosos surcos marcados por las voces de tiempos pasados, aúna todas las esperanzas que emanan de sus calles en un poético anhelo de libertad que embruja a todos sus habitantes. El escritor parisino Marcel Prévost (1862-1941), en sus relatos, pero sobre todo en sus cuentos, y muy especialmente en uno que brindó exclusivamente a este río, supo captar el agridulce sortilegio que muchos transeúntes sentían por sus aguas, dado que a ellas se las amaba como a una madre a la que agradecer la vida, pero también se las veía como la vía directa para abandonar la existencia propia. Sobre las aguas del Sena flotaban incontables suicidas; numerosos cadáveres de hombres y mujeres que fueron asesinados/as; de imprudentes flâneurs, que cayeron desde lo alto de alguno de sus puentes sin que jamás pudiera averiguarse su identidad; o, incluso bebés abandonados que, como moisés atemporales, forjarían, con el paso de los años, las esperanzas de la civilización. Estas aguas frecuentemente teñidas de la más hermosa amalgama de grises que pueden advertirse en una ciudad, no sólo fueron objeto de veneración de los habitantes de la ville lumière, sino que, además, en su superficie se reflejaba también la dura realidad social que se extendía por ambas orillas de beldad urbana.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3030
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Motaianu, Mihaela, and Cornelia Motaianu. "Signs and Emotions as the Experience of the Urban Explorer." In World Lumen Congress 2021, May 26-30, 2021, Iasi, Romania. LUMEN Publishing House, 2022. http://dx.doi.org/10.18662/wlc2021/48.
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Although we have the impression that we understand the urban texture in which we live, the city still holds surprises in the way it communicates everyday aspects, situations, and cultural history.The experience of the urban explorer, that flâneur/stroller mentioned by Guy Debord (1955) and the Situationist school, was until recently only a literary experience. The emotion of discovering the unusual in the urban daily life was communicated only in the form of textual narratives (Sinclair, 1997). Recently the psychogeographical approach to the city has become again a topic of interest. Although contemporary design transposed the behavioral codes of urban life into signs, it did not propose emoticons for the phenomenological experience of one who experiences the city. The original purpose of this paper is to translate the phenomenological experience of the urban explorer into infographics (which translates complex concepts into signs with condensed meaning) and to quantify and communicate emotionally and visually, the experience of the "invisible" [out of sight] cultural details to the hurried passerby. This paper will discuss the phenomenological (psychogeographical) experience of the city transferred into visual signs will be presented. The authors insist on the communicative value of infographics in making visible the hidden beauty of the city, the historical and esthetical details that are not seen by the passersby on the street, proposing a new urban visual language accompanied by visual design theory and cultural history explanations.
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Flores Avalos, Martha Isabel, and Sandra Amelia Marti. "La dialéctica en la urbe y la producción en el arte y el diseño. Perspectiva y prospectiva." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5865.
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Presentamos el estado del arte del proyecto "La dialéctica entre la urbe y la producción en el arte y el diseño. Perspectiva y prospectiva", que se plantea como un espacio de investigación sobre el ambiente urbano y los procesos creativos en el ámbito de la producción de obras de arte y de diseño. Entiéndase éste como el espacio y el tiempo de la ciudad en el que interactuamos y generamos reflexiones en torno a esta convivencia. Surge el interés en investigar a los productos pero también a los sujetos, los procesos poniendo énfasis en la propia interacción en este ámbito de muchas gamas. Visualizamos a la ciudad como un elemento vivo en permanente movimiento, de ahí a la idea de la dialéctica que gira en torno a la urbe y a la manifestación artística y del diseño.Las autoras hemos participado en diversas actividades conjuntando intereses académicos y profesionales; compartimos el gusto por el estudio de los fenómenos culturales en el espacio urbano y sus manifestaciones. Producimos obra tanto de diseño como artística en distintos medios pero también nos interesa mucho el trabajo de reflexión en torno a nuestros procesos y de otros autores. De 2008 a 2010 participamos activamente en el Seminario doctoral de Estudios Urbanos en la Universidad Autónoma Metropolitana en la Unidad Azcapotzalco, "La ciudad de la Imagen". A partir de esa experiencia hemos elaborado mucho trabajo conjunto: ponencias y ensayos para diversas revistas y foros de temas afines, vinculación con la docencia y la obra artística. Sandra Martí ha desarrollado la figura de "Besadora de ciudades", en el performance principalmente. Martha Flores ha desarrollado la figura del "Flâneur por la ciudad", en obra gráfica. En este foro deseamos enfatizar el trabajo de producción artística y la reflexión del proceso creativo.http://dx.doi.org/10.4995/ANIAV.2017.5865
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Pulla González, Jorge. "Walker Evans y Europa. La influencia de las vanguardias en el estilo documental norteamericano." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6740.
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Walker Evans (1903-1975) es una figura central de lo que se ha llamado el “estilo documental”, en especial por el papel que tuvo en el seno del proyecto emprendido por la Farm Security Administration durante los años treinta. Evans fue despedido de la FSA muy tempranamente, pero su trabajo constituye el núcleo del proyecto y la base del estilo documental norteamericano. A lo largo de esta comunicación indicaremos las fuentes europeas de las que este surgió, entre las que se encuentra la literatura y la fotografía del entorno de las vanguardias, en especial del surrealismo francés. Mostraremos cómo la fotografía de Evans surge en un medio totalmente europeo y bebe de dos fuentes completamente distintas: En primer lugar, está la literatura, especialmente la literatura francesa encarnada en dos figuras fundamentales: el poeta Baudelaire, del cual extraerá el espíritu propio del flâneur, y Flaubert, figura clave del realismo exacerbado. El método de Flaubert será incorporado por Evans de modo natural, como una prolongación involuntaria de su fracasada actividad literaria. Walker Evans estableció una estrecha relación con la literatura francesa de vanguardia a través de sus lecturas, primero, en la biblioteca universitaria del Williams College y, más tarde, durante sus tres años de trabajo en la New York Public Library. En estas instituciones leyó a Baudelaire, a Gide y al resto de los escritores franceses más innovadores. Esta relación se hizo más estrecha aún durante la larga estancia en París de la que disfrutó los años 1926-1927. Aunque la estancia en Francia no le reportó ningún beneficio a su casi inexistente prosa, su experiencia europea y el contacto con la vanguardia literaria que esta le procuró han de tenerse en cuenta a la hora de entender su desarrollo posterior como fotógrafo, hecho que la crítica norteamericana tiende a minusvalorar a la hora de analizar su obra, que prefiere entender como algo pura e intrínsecamente estadounidense. Pero, como veremos, Evans mismo desmiente este acercamiento a su trabajo. En 1927 regresa a los Estados Unidos, abandonando definitivamente la escritura. Cuando comienza a fotografiar, la atención a los objetos comunes y a lo ordinario presentes en la literatura de las vanguardias serán inmediatamente el origen de las listas de temas de su trabajo, centrado, en línea con Mac Orlan, Benjamin y el surrealismo, en “los desechos de lo cotidiano” y en los signos urbanos: la publicidad y las señales, los maniquíes… En segundo lugar, la fotografía, cuyos referentes más directos son Brady y, especialmente, el francés Atget, con cuya obra entabló contacto en ambientes muy influidos por el surrealismo. También asimiló estrategias de la fotografía constructivista soviética y alemana de vanguardia, especialmente en sus estudios de las potencialidades geométricas de las grandes estructuras arquitectónicas.