Journal articles: '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.

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Darrigrandi, Claudia. "Ciudad, cuerpo y traje: la flâneuse en Buenos Aires." Revista Iberoamericana 74, no. 222 (March 22, 2008): 85–99. http://dx.doi.org/10.5195/reviberoamer.2008.5295.

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12

Wolff, Janet. "The Invisible Flâneuse. Women and the Literature of Modernity." Theory, Culture & Society 2, no. 3 (November 1985): 37–46. http://dx.doi.org/10.1177/0263276485002003005.

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Clio Kao, Pei-Wen. "The Flâneur/Flâneuse and the Benjaminian Law of “Dialectic at a Standstill” in Joseph Conrad’s The Secret Agent." Conradiana 45, no. 2 (2013): 125–44. http://dx.doi.org/10.1353/cnd.2013.0008.

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Tanner, Constanza. "Entre el cielo y el infierno: travesía de una flâneuse. Nada, de Carmen Laforet." Recial 12, no. 19 (July 12, 2021): 172–93. http://dx.doi.org/10.53971/2718.658x.v12.n19.33839.

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En la primera novela publicada por la escritora catalana Carmen Laforet, Nada, de 1944, la ciudad de Barcelona trasciende la función de mero escenario para la acción y se transforma en condición indispensable para que la protagonista, Andrea, descubra y reinvente su rol dentro de la sociedad. La experiencia urbana de Andrea será un viaje iniciático que la enfrente con dos imágenes de Barcelona en apariencia contradictorias: una Barcelona idílico-apolínea y una Barcelona grotesco-dionisíaca. De forma paralela a su crecimiento como mujer, Andrea aceptará para sí el rol de flâneuse, y desde allí descubrirá una tercera cara de Barcelona, la ciudad moderna, que le mostrará en qué medida las otras dos pueden ser complementarias. En su búsqueda, Andrea descubrirá que su lugar no puede acordar con los recorridos que la tradición y el conservadurismo de la España de posguerra le permiten seguir a una mujer, ni limitarse a los espacios que figurarían en un esquema de Barcelona pensado para turistas. Andrea solo podrá hallarse en la ciudad íntima, autobiográfica, que descubrirá por sí misma como flâneuse, libre de imaginarios impuestos.

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Russell, Catherine. "L’historiographie parallaxiale et la flâneuse : le cinéma pré- et postclassique." Cinémas 10, no. 2-3 (October 26, 2007): 151–68. http://dx.doi.org/10.7202/024820ar.

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RÉSUMÉ L'historiographie parallaxiale renvoie à la manière par laquelle le cinéma des premiers temps apparaît lorsqu'il est considéré selon la perspective de la fin du XXe siècle. Le présent article traite des parallèles qu'on peut établir entre la première décennie du cinéma et la diversification des médias visuels dans les deux dernières décennies du siècle. Ces similitudes ont été théorisées par les chercheuses féministes Miriam Hansen, Anne Friedberg et Giuliana Bruno, qui ont soutenu que les sphères publiques caractéristiques de ces deux périodes ont engendré une forme de spectatorat très différente de celle que proposait la « théorie du dispositif ». La diversité des médias et des positions de lecture, ainsi que les diverses architectures de réception, semblent renvoyer à un certain modèle de modernité et à un regard qui offre un espace au spectatorat féminin. Le présent article tente de résumer et de rassembler ces théories en insistant particulièrement sur leur valeur à titre d'historiographie du cinéma des premiers temps.

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Pascoe, Judith. "The Spectacular Flâneuse: Mary Robinson and the City of London." Wordsworth Circle 23, no. 3 (June 1992): 165–71. http://dx.doi.org/10.1086/twc24042960.

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Park, HyungJu. "The Negative Flâneuse in Jean Rhys’s Voyage in the Dark." Feminist Studies in English Literature 23, no. 1 (April 2015): 167–92. http://dx.doi.org/10.15796/fsel.2015.23.1.006.

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Nam, Seungsuk. "Gesture and Gaze of Flâneuse Eun-hee in House of Hummingbird." Korean Society of Culture and Convergence 44, no. 2 (February 28, 2022): 581–602. http://dx.doi.org/10.33645/cnc.2022.02.44.2.581.

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Hall, Leo, and Simon Grennan. "Literary and Historic Flâneuses: Observation, Commentary, Enterprise and Courage in Late-Nineteenth-Century Women’s Professional Lives." Journal of Victorian Culture 24, no. 3 (February 9, 2019): 380–97. http://dx.doi.org/10.1093/jvcult/vcy070.

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Abstract Discussions of the conception of that exemplar of late-nineteenth-century and early-twentieth century urban modernity, the flâneur, have focused on both critique of the figure’s masculinity and more radical and nuanced conceptions of women’s flânerie. This article considers both the re-gendering and ungendering of flânerie in the character of three flâneuses in fiction published in the 1870s, 1880s and 1910s: Madame Sidonie, Henrietta Stackpole, and Elsie Bengough, and related dissonances and synergies in the career and work of London actress and cartoonist Marie Duval, active 1869–1885. It will argue that changes in types of reading supervened upon the boom in the production and distribution of serial publications during this period, resulting in the embodiment of new female professional identities, relative to both changing experiences of urban life and changing experiences of reading. The article makes a distinction between new ideas of these types of urban professional woman and the development of the identity of the New Woman after 1894. It examines the historic comprehensibility of the fictional flâneuses to readers of Zola, James, and Onions, according to the new opportunities and prohibitions that constituted the lived experiences of the developing urban entertainments industry of the period, in Duval’s comic strips and vignettes in the weekly London magazine Judy, or The London Serio-Comic Journal.

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Amran, Nurul Atiqah, and Arbaayah Ali Termizi. "The Visible Flâneuse in Chan Ling Yap’s Where the Sunrise is Red." 3L The Southeast Asian Journal of English Language Studies 26, no. 2 (June 30, 2020): 81–93. http://dx.doi.org/10.17576/3l-2020-2602-06.

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Michelle Johnson. "“It Is Solved by Walking”: A Conversation with Writer-Flâneuse Kathleen Rooney." World Literature Today 92, no. 2 (2018): 26. http://dx.doi.org/10.7588/worllitetoda.92.2.0026.

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Suh, Jiyoung. "The flâneuse and the landscape of colonial Seoul in the 1920-30s." Sociétés 135, no. 1 (2017): 63. http://dx.doi.org/10.3917/soc.135.0063.

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Drucker, Susan J. "Reflections of a media ecology flâneuse: On mediated urban spaces and places1." Explorations in Media Ecology 17, no. 4 (December 1, 2018): 367–77. http://dx.doi.org/10.1386/eme.17.4.367_1.

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Cities are rich informative environments. This has been dubbed the urban century with, for the first time in human history, more than half the world’s population living in cities. Cities are global, smart, connected, inclusive, livable, green, sustainable, mega and communicative. The urban experience is increasingly influenced by technology. From photography to the mobile phone, augmented reality and the GPS, the person/environment relationship is altered by media technologies. Urban communication is a growing field examining communication in urban sites and urban influences on communication. What is the relationship between media ecology and urban communication? From Benjamin and McLuhan to Postman and Strate, this article explores the connections between urban communication and media ecology and suggests urban spaces and places call out for the attention of media ecologists.

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Alonso-Sanz, Amparo. "Una profesora 'flâneuse' en París. Cartografías en la formación inicial de docentes." Arte, Individuo y Sociedad 32, no. 2 (March 31, 2020): 363–86. http://dx.doi.org/10.5209/aris.63670.

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Este estudio se fundamenta en las bases de la deriva artística, como técnica etnográfica para explorar el territorio urbano, iniciada por Surrealistas y Situacionistas. La autora investiga las particularidades de ser flâneuse (observadora deambulante de las ciudades) en París, durante un mes, desde una perspectiva feminista de esta práctica. Desde una mirada docente se observa la ciudad como lugar de aprendizajes del futuro profesorado para su formación inicial. El objetivo es hallar estrategias artísticas de diseño cartográfico asociadas a derivas, con las que reflexionar visualmente sobre la experiencia de la ciudad y aplicarlas a la formación inicial del profesorado de secundaria en artes visuales. Se emplea la A/R/Tografía como método propio de la Investigación Basada en las Artes que permite combinar los intereses artísticos, de investigación y docentes. Se analizan las experiencias de deriva y se clasifican según distintas categorías, que emparejan modos opuestos de experimentar la ciudad: sola o en compañía familiar; a paso lento o corriendo; en superficie o subterráneas. Los resultados son 6 cartografías que muestran diferentes formas de representar los resultados de las derivas: estética, técnica y conceptualmente. Estas cartografías visibilizan el modo de experimentar la ciudad por una mujer y sirven para ejemplificar a futuros docentes su uso en el registro de aprendizajes.

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Malik, Surbhi. "The provincial Flâneuse: Reimagining provincial space and narratives of womanhood in Bollywood." South Asian Popular Culture 19, no. 1 (January 2, 2021): 33–45. http://dx.doi.org/10.1080/14746689.2021.1880859.

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Velody, Rachel. "The Career Woman and the Princess." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 11, no. 1 (April 30, 2018): 20–37. http://dx.doi.org/10.31165/nk.2018.111.526.

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Fashioning is critical to explorations of television identities and American melodrama-thriller series Scandal (2012-17) provides opportunities to explore representations of ethnicity together with depictions of interracial romance and intercourse. Utilising semiotics I explore the contribution of costume designer Lyn Paolo to the construction of the Black-American heroine of the series, Olivia Pope, successful career woman and lover of a white, male President. Arguing for the potential of female spectacle and soft-core pornography as progressive I consider Paolo’s influences, suggesting that Olivia’s fashioning transformations illustrate her as dandy-flâneuse, one controlling the visualisation of her identity.

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Ozgen-Tuncer, Asli. "Walking in Women’s Shoes." Feminist Media Histories 7, no. 3 (2021): 135–53. http://dx.doi.org/10.1525/fmh.2021.7.3.135.

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This article traces feminist affinities across images of shoes as signifiers of women’s precarious mobilities on the screen. Inspired by Catherine Russell’s methodology of parallax historiography, it investigates compelling images of shoes in women’s activist filmmaking from two different time periods and national cinemas. The footwear of Eva from Lois Weber’s Shoes (1916) and Mona from Agnès Varda’s Sans toit ni loi (Vagabond, 1985) lends itself to reflection on practices of feminist historiography and a figurative reconfiguration of the flâneuse as a feminist historian who critically revisits knowledge of the past and of the present to set both in motion.

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Stefanovska, Ana. "Female Relays, Rice-Workers and flâneuse: The geo parler femme in Renata Viganò’s Work." Humanities 8, no. 1 (February 5, 2019): 25. http://dx.doi.org/10.3390/h8010025.

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The aim of this article was to reflect on how settings are used as narrative practices in the work of Renata Viganò, one of the most famous Italian female writers. Drawing upon Well’s concept of geo parler femme, this article examined the extent to which the setting plays a role in Viganò’s fictional works and essays. Focusing on the most common stereotypes of gendered spatiality, the intention of the analysis was to point out that at specific historical moments, such as the Italian resistance movement and the post-war years, the traditional gender assignment of spaces was no longer valid. The idea of a well distinguished ‘limit’ that separates certain places as feminine from others as masculine in time of war becomes blurred and destabilizes the traditional dichotomy of public–private spaces. The dialectic masculine–feminine places are nonexistent and often completely reversed, turning the setting into one of the main narrative practices in novels, such as L’Agnese va a morire or Una storia di ragazze, as well as in politically engaged essays dedicated to female partisans and rice-workers.

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Iskin, Ruth. "The pan‐european flâneuse in fin‐de‐siècle posters: Advertising modern women in the city." Nineteenth-Century Contexts 25, no. 4 (December 2003): 333–56. http://dx.doi.org/10.1080/0890549032000167844.

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Frank, Andrea I. "Observations of a Pandemic Flâneuse: Behaviour Change and Adapting Public Space in Birmingham, United Kingdom." disP - The Planning Review 56, no. 4 (October 1, 2020): 26–33. http://dx.doi.org/10.1080/02513625.2020.1906048.

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Rubino, Atilio Raul. "Una flâneuse disidente en la farmacopornomegalópolis. Promiscuidad, amor y ciudad en Plástico cruel de Jóse Sbarra." Revista de Estudios de Género, La Ventana 6, no. 54 (January 1, 2021): 313–41. http://dx.doi.org/10.32870/lv.v6i53.7171.

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Stedman, Gesa. "‘Restoring friendship and confidence as far as possible between the inimical nations’: Post-World War I Berlin through English eyes." Journal of European Studies 51, no. 3-4 (November 2021): 239–51. http://dx.doi.org/10.1177/00472441211033412.

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Three British women writers and their memoirs or letters serve as the key witnesses to rapid change from war-torn Berlin to a highly desired tourist destination. The war-induced transition of Berlin was matched by the social changes for women whose traces can be found in the three texts: the writer’s position changes from that of the voyeuse to the flâneuse. While the old aristocratic cosmopolitanism in Evelyn Blücher’s and Helen D’Abernon’s circles was on the wane, a more middle-class cosmopolitanism, as exemplified by the Bloomsbury psychoanalyst and translator Alix Strachey, became more important in the aftermath of World War I. The three writers share an interest in social observation, but all three are tied by their particular upper-middle- or upper-class habitus. An image of Berlin emerges which predates Christopher Isherwood’s Berlin myth by at least a decade.

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Argin, Gorsev, Burak Pak, and Handan Turkoglu. "Post-flânerie: How do mobile devices shape the experience of the city?" SHS Web of Conferences 64 (2019): 01005. http://dx.doi.org/10.1051/shsconf/20196401005.

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In the last decade, the advances in mobile technologies and location-based applications reshaped our mutual relationship with the urban environment. These technologies, as both a mean and barrier to the engagement between humans and their environment, have transformed the urban experience in profound ways. Urban experience is a relatively new concept introduced with the rise of modern cities in the nineteenth century. Its loss due to the rapid urbanization has been a subject of debate since then. Among the discussions that take place in this debate, the figure of ‘flâneur’ plays an extensive role. The flâneur is a figure who wanders through and appropriates the metropolitan city in pursuit of urban experience and reaps aesthetic meaning from the spectacle of the teeming crowds. Flânerie, or the act of wandering, and its implications for our understanding of urban life have been profound. Today, mobile technologies create a new kind of urban wanderer which is described as “post-flâneur”. In this paper, by examining the altering concept of flânerie, we discuss the effects of mobile technologies on urban experience. Based on an informed study of a wide range of theories, we make reflections on the impact of mobile devices on the mutual relationship between humans and their environment, introduce key concepts for understanding the emergent phenomenon of post-flânerie and elaborate on its interconnections with the phenomena of cyber and hybrid-flânerie.

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Botamino González, Clara. "Spatial Transgression in Laura Hird's Born Free." Babel – A. F. I. A. L : Aspectos de Filoloxía Inglesa e Alemá, no. 27 (May 24, 2019): 5–24. http://dx.doi.org/10.35869/afial.v0i27.322.

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Este artículo se centra en la transgresión espacial en la novela de Laura Hird Born Free, desde la teoría espacial y la perspectiva de género. El artículo revisa la presentación de Hird de los espacios públicos y privados y la ruptura que ocurre entre ambos. El reconocimiento de la relación necesaria entre espacio y género es clave para el desarrollo de las ideas presentadas en este estudio. En primer lugar, el espacio privado del hogar y el concepto tradicional de maternidad son el punto central para el análisis de las transgresiones que se dan en el ámbito doméstico, las cuales ocurren a través de la aplicación de actividades asociadas con el espacio público. A su vez, en segundo lugar, ocurre otra transgresión espacial en las calles a través de la realización de actividades típicas del ámbito doméstico. Se concluirá la necesidad de presentar el trabajo de Hird como un foco de estudio urbano, a través de la aplicación de elementos urbanos como la flâneuse.

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Boutin, Aimée. "Rethinking the Flâneur: Flânerie and the Senses." Dix-Neuf 16, no. 2 (July 2012): 124–32. http://dx.doi.org/10.1179/dix.2012.16.2.01.

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Pol Colmenares, Ana, and María Rosón Villena. "Hacer espacio: Museos y feminismos = Making Space: Museums and Feminisms." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 8 (November 17, 2020): 75. http://dx.doi.org/10.5944/etfvii.8.2020.27436.

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En este artículo desarrollamos una propuesta teórica que expone y se interroga sobre algunas de las prácticas posibles de un museo que se piensa feminista. Bajo nuestra perspectiva, la inclusión de obras de artistas mujeres no solo tiene que ver con la premisa de incorporar a un colectivo invisibilizado sino que su importancia, sobre todo, radica en la transformación de los modelos de hacer historia y su impugnación a la construcción de un relato simplificado, autorreferencial, teleológico-desarrollista, etnocéntrico y patriarcal. Desarrollamos nuestro planteamiento a través de la discusión de cinco conceptos: reunir, proponer, mantener, contar y divagar. En la segunda parte del artículo nos detenemos extensamente en el último concepto, divagar, al ser una propuesta propia que tiene que ver con una aproximación al museo desde la fenomenología feminista. Pensamos que las intersecciones entre espacio, práctica artística y feminismo pueden proporcionar lecturas ricas y renovadoras para los museos. En esta ocasión, trazamos un recorrido a través de dos figuras: la flâneuse y la exiliada. Ambas desvelan algunos aspectos de las relaciones históricas entre espacio y mujeres y de forma activa combaten el espacio patriarcal con sus ausencias/presencias.AbstractIn this article we develop a theoretical proposal that exposes and questions possible museum practices framed as feminist ones. From our perspective, the inclusion of works by women artists in museum displays certainly has to do with the premise of incorporating an invisible collective. However above all, its importance lies in its ability to transform models for making history and the challenge implicit in the construction of a simplified, self-referential, teleological-developmental, ethnocentric and patriarchal narrative. We develop our approach through the discussion of five actions linked to museum practice: to gather, to propose, to maintain, to tell and to digress. In the second part of the article, we dwell extensively on the last concept, «to digress», and its importance in our own proposals that outline an approach to the museum that is rooted in feminist phenomenology. We think that the intersections between space, artistic practice and feminism can provide rich and renewing readings of and interactions with museums. On this occasion, we trace a journey through two figures: the flâneuse and the exiled. Both reveal aspects of the historical relationships between women and space and women while also actively combatting patriarchal spaces marked by different absences/presences.

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Rocha, Roseani Vieira. "A Figura do Flâneur no Entendimento da Prática Jornalística sob a luz de João do Rio, um caso brasileiro." Anagrama 4, no. 1 (July 15, 2010): 1–81. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2010.35479.

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O objetivo desta monografia será estudar a figura do flâneur, surgida na Europa, no século XIX, tentando encontrar e avaliar suas influências em áreas como a literatura, a sociologia e, acima de tudo, o jornalismo. Para tanto, dedicarei atenção especial ao jornalista fluminense João do Rio, apresentado como um exemplo de flâneur brasileiro, tomando como base particularmente sua obra A Alma Encantadora das Ruas, publicada pela primeira vez como livro em 1908. Em seguida, verificarei o impacto da flânerie no jornalismo que se pratica a partir do fim do século XIX, passando pela crônica e o chamado jornalismo literário. Ao final, tentarei mostrar se nos dias de hoje a flânerie está presente ou não na prática jornalística

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Martínez-Garrido, Pablo. "Media-flânerie: precedentes y posibilidades discursivas en las prácticas artísticas contemporáneas." Bellas Artes. Revista de Artes plásticas, Estética, Diseño e Imagen, no. 15 (2021): 67–88. http://dx.doi.org/10.25145/j.bbaa.2021.15.03.

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The article gives shape to the concept of the media-flâneur and its practice, the media-flânerie, from the perspective of contemporary artistic practices and as a means of addressing the complexity of the exploration of contemporary society and its relationship with the media, starting from the essential remnants of the traditional flâneur from the literature of the 19th century and the artistic avant-gardes of the 20th. For this, it understands the paradigm that digital platforms such as Google suppose, tools and codes of representation intervene in the understanding of the world in a hyper-real sense, and it proposes three discursive possibilities through the open categorization of contemporary artistic practices that use media-flânerie as a strategy.

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Hazel Hahn, H. "The Flâneur, the Tourist, the Global Flâneur, and Magazine Reading as Flânerie." Dix-Neuf 16, no. 2 (July 2012): 193–210. http://dx.doi.org/10.1179/12z.00000000017.

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Pająk, Paulina. "Housed Memories: Spatial and Temporal Portrayals in Virginia Woolf’s The Voyage Out." Anglica Wratislaviensia 56 (November 22, 2018): 109–18. http://dx.doi.org/10.19195/0301-7966.56.8.

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Neurocognitive research has confirmed that people perceive and remember the “rooms of their own” similarly to their own bodies. These psychological discoveries yield important new insights into the oeuvre of Virginia Woolf, an avid diarist, flâneuse and experimenter, preoccupied with gendered memory and space available to women in the early 20th century. While there exists an important and growing body of work on Woolf’s interest into women’s emancipation and politics of space, the gendered connection between spatial and temporal aspects of her works remains a little researched area, particularly in the context of neurocognitive theory of memory. This paper argues that in The Voyage Out the representations of the protagonist, Rachel Vinrace, are structured around the processes of autobiographical remembering and spatial perception, as her private rooms serve as loci of her memory and identity. It is then possible to interpret Rachel’s rooms as her spatial portraits, which perceived by other characters tell their inhabitant’s life story. A similar role could be attributed to the autobiographical memory, which preserves their owner’s temporal portrayals in particular moments of her life.

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Morgan, Cheryl A. "Voices Carry." Romanic Review 112, no. 2 (September 1, 2021): 235–60. http://dx.doi.org/10.1215/00358118-9091125.

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Abstract This article examines the urban fiction of Jeanne Marni’s 1898 Fiacres, a collection of twenty-five stories that first appeared in the daily newspaper Le Temps. The stories are presented in the form of dialogues transcribed by an invisible spectator from within the horse drawn carriages for hire, the fiacres, the fin de siècle taxi cabs. Training her eye on and lending her ear to Belle Époque Paris, Marni registers the conversations of Parisians as they move about the city. In these feminocentric, and by turns humorous or ironic texts, Marni hones an “urban comic” that merges two nineteenth-century figures: the “invisible” flâneuse and the “inaudible” rieuse, or funny woman. Focusing on the intersection of the representation of urban experience and the humorous in Fiacres, this article situates Marni’s sound bites within a genealogy of women writers and the city that looks back to Delphine Gay de Girardin’s witty chronicles of July Monarchy Paris, the “Courrier de Paris” (1836–1848), and ahead to Annie Ernaux’s ironic journal of urban selfhood in transit, Journal du dehors (1993).

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Luengo López, Jordi. "mirada del flâneur. Influjo y presencia en la poesía y narrativa de Louis Aragon." Anales de Filología Francesa, no. 29 (November 24, 2021): 747–67. http://dx.doi.org/10.6018/analesff.480551.

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En Louis Aragon, la flânerie no sólo se manifiesta en los paseos que el escritor francés por placer pudiera dar por París, sino que, además, supone un modo de emplazarse en la ciudad y en su propia literatura. Abordar el estudio del flâneur desde la producción poético-literaria de Aragon nos permite deambular por las líneas de sus versos y fragmentos de su prosa onírica, como si de calles y avenidas se tratase, para participar en esa actividad artística que contribuyó fehacientemente a su consagración como escritor. En el presente estudio, por lo tanto, podrá constatarse que la flânerie no sólo se dio en su período surrealista, especialmente en Le paysan de Paris, sino que fue una constante a lo largo de toda su producción literaria. Para demostrarlo, se profundizará en varias obras de la poesía y narrativa del autor francés, buscando, en este ejercicio analítico, la influencia y presencia de esa mirada creativa del flâneur sobre el texto escrito. In the work of Louis Aragon, flânerie is not only present in the strolls the French writer took around Paris for pleasure, but also implies a way of locating oneself in the city and in his literature. Approaching the study of the flâneur from Aragon’s poetic and literary oeuvre allows us to wander through the lines of his verses and passages of oneiric prose as though through streets and avenues, to take part in this artistic activity that irrefutably contributed to establishing him as a writer. In the present study, flânerie is therefore shown to be present not only in his Surrealist period, especially in Le paysan de Paris, but that it was a constant factor throughout all his literary work. To demonstrate this, several poems and narrative works by the French author will be analysed in depth, seeking to pin down the presence and influence of the creative gaze of the flâneuron the written text. Chez Louis Aragon,la flânerie se manifeste non seulement par les promenades que l’écrivain français fait pour le plaisir à Paris, mais aussi par une façon de se situer dans la ville et dans sa propre littérature. Aborder l’étude du flâneur depuis la production poético-littéraire d’Aragon nous permet de déambuler dans les lignes de ses vers et les fragments de sa prose onirique, comme s’il s’agissait de rues et d’avenues, pour participer à cette activité artistique qui a contribué à sa consécration en tant qu’écrivain. Dans la présente étude, nous pourrons constater que la flânerie n’est pas seulement apparue dans la période surréaliste d’Aragon, notamment dans Le Paysan de Paris, mais qu’elle a été une constante tout au long de sa production littéraire. Pour cela, nous explorerons plusieurs œuvres poétiques et narratives de l’auteur français, en cherchant, dans cet exercice analytique, la présence et l’influence de ce regard créatif du flâneur sur le texte écrit.

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Freitas, Gabriela. "Reconfigurações do conceito de flâneur pelas práticas artísticas do caminhar na artemídia contemporânea." Acta Poética 41, no. 2 (June 18, 2020): 131. http://dx.doi.org/10.19130/iifl.ap.2020.2.879.

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El concepto de flâneur abordado por Benjamin se convirtió en un retrato de la modernidad en el París del siglo XIX. Muchos todavía se refieren a la flânerie sin cuestionar el contexto contemporáneo. Queremos mostrar cómo algunas obras de arte mediático actuales de cuatro artistas brasileños brindan experiencias participativas que reconfiguran este concepto. Para hacerlo, analizaremos las obras desde el campo ampliado (fotográfico y cinematográfico), en el que el proceso de concepción híbrida de la obra es crucial. También señalaremos cómo dichos procesos incorporan el caminar por el espacio como una práctica artística, creando lugares de interacción en los que, incluso antes de una experiencia individual, el colectivo se hace presente, aportando un enfoque más político que el característico de la atmósfera burguesa y capitalista de flânerie parisina. Los conceptos de “deriva” y delirium ambulatorium también serán discutidos para comprender tal reconfiguración del flâneur en la contemporaneidad.

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Freitas, Gabriela. "Reconfigurations of the Concept of Flâneur by the Artistic Practices of Walking in Contemporary Media Art." Acta Poética 41, no. 2 (June 17, 2020): 131–48. http://dx.doi.org/10.19130/iifl.ap.2020.41.2.0008.

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The concept of flâneur addressed by Benjamin became a portrait of modernity in nineteenth-century Paris. Many still refer to the flânerie without questioning the contemporary context. We want to show how some current media art works by four Brazilian artists provide participatory experiences that reconfigure this concept. To do so, we will analyze them in the context of the expanded field (photographic and cinematographic), in which the process of hybrid conception of the work is crucial. We will also point out how such processes incorporate walking through space as an artistic practice, creating places of interaction in which, even in the presence of an individual experience, the collective aspect becomes important, bringing a more political approach than the one characteristic of the bourgeois and capitalist atmosphere of Parisian flânerie. The concepts of drift and delirium ambulatorium will also be discussed to understand such a reconfiguration of the flâneur in contemporaneity.

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Moreno-Álvarez, Alejandra. "De Kretser’s Retelling of a Ghost Love Story." Humanities 9, no. 3 (August 19, 2020): 87. http://dx.doi.org/10.3390/h9030087.

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Australian author Michelle de Kretser addresses in her literary work ideas of home and belonging. In Springtime. A Ghost Story (2014) the author gives voice to an ambiguous and variable subject who coexists with her past, present and future, inhabiting a fluid trans-space where love has a principal role. Frances, the main character in Springtime, sees ghosts who unconsciously allow her to voice her insecurities and doubts concerning her life existence. These phantoms contribute to the formation of Frances’ alternative conceptualization of subjectivity. At the same time, de Kretser offers in this dystopic novella a much-needed escape from binary definitions of inclusion/exclusion, offering palimpsests of the spaces that Frances inhabits—Melbourne, Sydney and Paris. This main character is a fluid flâneuse who tries to adjust to her glocality constituted and reconstituted by a discursive imaginary. In this article, I analyze how de Kretser subverts ghost story patterns, destabilizes binary thinking, and decentralizes the human subject offering the reader an alternative haunting love story with an open ending, where cities, ghosts, humans, dogs and nature become active characters who are-in-this-together-but-who-are-not-one-and-the-same.

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Torres, Cibelih Hespanhol, and Mariana Ramalho Procópio. "Estudos e experiências de uma prática flâneur como alternativa ao jornalismo." Anagrama 8, no. 1 (December 6, 2013): 1–13. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2014.78974.

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O artigo procura discutir a atividade do flâneur – o caminhante apaixonado pelas ruas – em sua contribuição para o jornalismo. Para tanto, buscou-se observar a flânerie desempenhada pelo jornalista e literato João do Rio, representada em sua obra A alma encantadora das ruas. A partir pesquisa bibliográfica, procedeu-se a caracterização da prática, que serviu, posteriormente, à orientação das atividades coordenadas pelo grupo no Projeto de Extensão Flanando na Praça, que teve como objetivo levar às praças de Viçosa alguns aspectos de um jornalismo literário de cunho flâneur. Os estudos da figura do caminhante jornalístico e as experiências vividas no projeto permitiram ainda o delineamento de possibilidades e características a um flâneur atual

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Pelayo Sañudo, Eva. "The ethnic flâneuse: The Right to the City and Embodied Streets in Julia Savarese’s The Weak and the Strong (1952) and Marion Benasutti’s No Steady Job for Papa (1966)." Complutense Journal of English Studies 27 (October 4, 2019): 293–315. http://dx.doi.org/10.5209/cjes.61462.

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Drawing on Edward W. Soja’s radical critique to the prevailing narrative of history in social theory, this paper investigates how two novels on Italian/American ethnic identity are distinctively spatialized. The analysis focuses on the characters’ different experiences and perceptions of space, which attest to the interplay of identity and spatial production, paying attention to agency and spatial stories that are specifically localized. By using theory on the (re)production of space, this paper analyzes how urban representational and material patterns relate to social division, in terms of ethnicity and gender, and how the perpetuation of inequality is spatially enacted. Particularly, it examines the key gendered urban layout that is revealed in how women are often “in transit” (Gómez-Reus and Glifford 2013), “out of place” (McDowell 1997) or in fear (Valentine 1989; Pain 2001) in the “embodied spaces” of the streets (Tonkiss 2005). Through two texts of early Italian/American fiction, this paper addresses the spatial practices, as well as restrictions, of the embodied racialized and gendered subject. To this end, the figure of the ethnic flâneuse (Carrera-Suárez 2015) represents a suitable object of study on embodied spatiality which serves to subvert traditional intersectional constraints of spatial design and discourse.

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Dayani, Roksana, and Bahee Hadaegh. "RHIZOMATIC COSMOPOLITAN AND WILSONIAN RECURSIVE VISION IN JOE TURNER’S COME AND GONE." Folia linguistica et litteraria X, no. 32 (2020): 7–25. http://dx.doi.org/10.31902/fll.32.2020.1.

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Being the constant wanderer for the lost identity in the polyethnic land of America, African Americans bear striking resemblance to the figure of flâneur with dialectical image of local and cosmopolitan citizen of the universe. The spirit of flânerie proves its geographical historical expansion in both postmodern and African American context while its performative action navigates it in dramatic texts. Hence, Wilsonian characters identical with constant existential quest for the lost self can be African American incarnations of flâneur. Drawing on Baudelaire’s definition and Benjamin’s theory of flâneur, this study seeks to demonstrate possible manifestations of African American flâneur in August Wilson’s Joe Turner’s Come and Gone (1986). Moreover, through Deleuze and Guattari’s postmodern theoretical concept of rhizome in A Thousand Plateau (1987), the study aims to explore the postmodern manifestation of flâneur and consequently manifest how it functions to be the means for Wilsonian postmodern recursive dramatic vision that represents mysterious aspects of African Americans life. Flâneur’s versatility appropriates it to be the quintessential manifestation of African Americans inasmuch as the latter’s multifaceted African nature can accommodate the former’s flexibility

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Buescu, Helena. "Le flâneur et les flâneuses. Les femmes et la ville à l’époque romantique." Orbis Litterarum 64, no. 1 (February 2009): 76–78. http://dx.doi.org/10.1111/j.1600-0730.2008.00944.x.

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Tyshchenko, Anastasia. "FLANEUR’S ANXIOUS MASCULINITY: A COMPARATIVE ANALYSIS OF THE NOVELS “MIST” BY M. DE UNAMUNO AND “NOTES OF SNUB-NOSED MEPHISTOPHELES” BY V. VYNNYCHENKO." Слово і Час, no. 2 (March 25, 2021): 83–99. http://dx.doi.org/10.33608/0236-1477.2021.02.83-99.

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At the beginning of the 20th century, modernist literature starts to face the new existential issues unfolded in the urban environment. One of these issues is the phenomenon of anxious masculinity caused by the destruction of the patriarchal paradigm. In the literatures that were moving from the traditional type of culture to urban and modern, the writers described men who went out on the streets, converting themselves into the urban cultural type known as flânerie. The practice of ﾠflânerie, first presented in French literature, became popular in other European literatures as well, Spanish and Ukrainian not being exceptions. However, the type of flâneur in these two literatures still requires a scrupulous study. The paper provides a comparative analysis of M. de Unamuno’s “Niebla” (“Mist”) and V. Vynnychenko’s “Zapysky kyrpatoho Mefistofelia” (“Notes of Snub-Nosed Mephistopheles”) aiming to analyze the represented types of flâneurs. The novels demonstrate the specifics of flâneur’s discourse in Spanish and Ukrainian literatures, which were undergoing modernization processes. The comparison of such elements as writers’ urban experiences, protagonists’ interaction with the urban space, meeting with the modern women on the streets as the main plot element, and gender issues allowed defining different reflections on anxious masculinity and broadening European ﾠflânerie discourse. In addition, the analysis defined the protagonists of the novels as proto-ﾠ вneurs, which creates the perspective for further studies of the ﾠflânerie in Spanish and Ukrainian literatures. The results of the research provide arguments for the hypothesis that the ﾠflânerie is one of the modernist perception strategies, symptomatic for European culture.

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Journal articles on the topic 'Flâneuse'

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