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Books on the topic 'Le Flâneur'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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1

Geerdts, Hans Werner. Journal d'un flâneur. Marrakech: Infréquentables, 2005.

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2

d', Amat Benoît, and Jones Paul 1965-, eds. Paris, carnets d'un flâneur. Paris: Parigramme, 2008.

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3

Quentin, Bajac, and Brassaï, eds. Brassaï: Le flâneur nocturne. Paris]: Gallimard, 2012.

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4

Leclerc, Félix. Le calepin d'un flâneur. Montréal, Qué: BQ, 1988.

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5

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.

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6

Le flâneur de l'autre rive. Bruxelles: André Versaille éditeur, 2011.

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7

Mégapolis: Les derniers pas du flâneur. [Paris]: Stock, 2009.

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8

Cosmópolis: Del flâneur al globe-trotter. Buenos Aires: Eterna Cadencia Editora, 2010.

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9

Raimbault, France. Le Père-Lachaise: Guide du flâneur. Saint-Cyr-Sur-Loire: A. Sutton, 2006.

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10

Flâneur: Scritti sparsi di architettura, arte e design. Milano: Skira, 2011.

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11

Baudelaire, Charles. Il flâneur e lo spettatore: La fotografia dallo stereoscopio all'immagine digitale. Milano, Italy: FrancoAngeli, 2014.

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12

Calabrese, Stefano. L' esilio del flâneur: La provincia di Delfini, Guanda e Zanfrognini. Ospedaletto, Pisa: Pacini editore, 1992.

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13

Asselin, Olivier. Le flâneur et l'allégorie: Essai sur la photographie de Charles Gagnon. Montréal: Dazibao, 2006.

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14

Baudelaire's media aesthetics: The gaze of the Flâneur and 19th century media. New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc, 2015.

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15

Le flâneur et les flâneuses: Les femmes et la ville à l'époque romantique. Grenoble: ELLUG, Université Stendhal, 2007.

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16

Nesci, Catherine. Le flâneur et les flâneuses: Les femmes et la ville à l'époque romantique. Grenoble: Ellug, 2007.

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17

Rossella, Marcucci, ed. Filippo de Pisis botanico flâneur: Un giovane tra erbe, ville, poesia : ricostruita la collezione giovanile di erbe secche. Firenze: L.S. Olschki, 2012.

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18

Aubin, Michel. Aujourd'hui je reste chez moi. Tournai, Belgique: Casterman, 1990.

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19

Carnet d'une flâneuse à New York: Mes meilleures adresses. Montréal: Éditions La Presse, 2013.

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20

Nuvolati, Giampaolo. Popolazioni in movimento, città in trasformazione: Abitanti, pendolari, city users, uomini d'affari e flâneurs. Bologna: Il mulino, 2002.

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21

Nowaczewski, Artur. Szlifibruki i flâneurzy: Figura ulicy w literaturze polskiej po 1918 roku. Gdańsk: slowo/obraz terytoria, 2011.

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22

Szlifibruki i flâneurzy: Figura ulicy w literaturze polskiej po 1918 roku. Gdańsk: slowo/obraz terytoria, 2011.

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23

Flâneur, O. Companhia das Letras, 2000.

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24

Hudson, William Henry, and Victor Llona. Un flâneur en Patagonie. Payot, 2002.

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25

Un flâneur en Patagonie. Table ronde, 1990.

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26

Apollinaire, Guillaume. Le flâneur des deux rives. Gallimard, 1994.

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27

Paris in the Cinema: Beyond the Flâneur. British Film Institute, 2018.

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28

Paris in the Cinema: Beyond the Flâneur. British Film Institute, 2018.

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29

Phillips, Alastair, and Ginette Vincendeau, eds. Paris in the Cinema: Beyond the Flâneur. British Film Institute, 2018. http://dx.doi.org/10.5040/9781838711900.

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30

Flâneur: The Art of Wandering the Streets of Paris. CreateSpace Independent Publishing Platform, 2017.

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31

Boutin, Aimée. Aural Flânerie. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0002.

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This chapter establishes that scholarly approaches to flâneurs have downplayed the broader impact of the urban experience on the senses and underappreciated their aural acuity. From the type's early formulations by Honoré de Balzac, Auguste de Lacroix, and Victor Fournel, the flâneur is attuned to city sounds, and flâneur-writing arranges them to portray the city as concert. The art of flânerie consists of transforming the empirical confusion of city sounds into a unified musical composition. As the clamor of the streets promoted selective hearing, street musicians were targeted as major contributors to the city as concert. Close readings of verbal and visual sketches by Delphine de Girardin, Maria d'Anspach, Bertall, and Old Nick show that class-biased ideas about concert music influenced their often humorous reactions to street noise; nevertheless, the neurasthenic bourgeois ear was often less than receptive to the intrusive noise of foreign street performers. In contrast, Victor Fournel waxed enthusiastic about the people's love of music. A close reading of his Ce qu'on voit dans les rues de Paris makes sense of his distinctive appreciation for street music.
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32

R, REUSS. Vieux noms et rues nouvelles de Strasbourg: Causeries biographiques d'un flâneur. Hachette Livre - BNF, 2018.

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33

R, REUSS. Vieux noms et rues nouvelles de Strasbourg: Causeries biographiques d'un flâneur. Hachette Livre - BNF, 2018.

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34

MENEZES, Marcos Antonio de. UM FLÂNEUR PERDIDO NA METRÓPOLE DO SÉCULO XIX: História e Literatura em Baudelaire. EDITORA CRV, 2020. http://dx.doi.org/10.24824/978655868525.8.

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35

Cutcher, Alexandra Lasczik, and Rita L. Irwin. The Flâneur and Education Research: A Metaphor for Knowing, Being Ethical and New Data Production. Palgrave Pivot, 2019.

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36

Cutcher, Alexandra Lasczik, and Rita L. Irwin. The Flâneur and Education Research: A Metaphor for Knowing, Being Ethical and New Data Production. Palgrave Pivot, 2018.

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37

Boutin, Aimée. Listening to the Glazier’s Cry. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0005.

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This chapter draws on a network of discourses including the picturesque and flâneur-writing, panoramic literature on the Cris, and reflections on populist song, in order to show how different writers harmonized the glazier's cry into poetic prose. It compares Arsène Houssaye's “La Chanson du vitrier” and Charles Baudelaire's “Le Mauvais Vitrier”. It shows how Houssaye's transcriptions of the glazier's cry and his use of the cry as refrain relate to efforts by musicians such as Mainzer and Kastner to document the cry for posterity. Houssaye harmonizes the cry to exploit its pathos and, in tandem with Nerval, Gautier, or Dupont, he seeks to achieve an authenticity through the transposition of song. In contrast, Baudelaire espouses dissonance in “Le Mauvais vitrier” and evokes the sinister and demonic effects of strident noise.
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38

Crossland, Rachel. A Brownian Model for Literary Crowds. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815976.003.0007.

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Chapter 6 applies the ideas explored in Chapter 5 to a range of early twentieth-century literary texts, especially those by Woolf and Lawrence. The focus here is on crowd and city scenes, including the modernist figures of the flâneur and the passante. The chapter as a whole argues for the relevance of contemporary ideas on molecular physics, especially Brownian motion, to portrayals of individual characters in relation to crowds, drawing on a range of texts including Woolf’s Night and Day and Mrs Dalloway, Lawrence’s The Trespasser and The White Peacock, and texts by Joseph Conrad, James Joyce, and H. G. Wells. Together with Chapter 5, this chapter demonstrates how ideas, language, and imagery were shared across disciplines in the early twentieth century, and argues that considering different disciplines together can help us to recapture a sense of the ways in which particular issues were experienced at the time.
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39

Spentzou, Efrossini. Propertius’ Aberrant Itineraries. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768098.003.0002.

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Can we find the flâneur in ancient Rome? This is not a narrow question of whether this modern French literary figure has a Classical prehistory, but whether there is a parallel relationship at Rome between large urban centres, literary production, and individualism. This chapter suggests there are instances in Latin love elegy that offer a layered response to spatial forms. Observing the rhythms of the everyday in Rome, we discover shared spaces of erotic and imperial power. Propertius and Ovid are as much constructors of the eternal city as its monumental imperial builders. It is in fleeting and intense moments of escape that we become aware of the inflexibility of everyday life in Rome. In the moments when the citizen may (or may not) give way to the lover, the limitations of set scripts are revealed, and the implacable logic of imperial space softens in the undecidability of the moment.
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40

Boutin, Aimée. “Cry Louder, Street Crier”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0006.

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This chapter follows representations of peddlers from Baudelaire to François Coppée, Charles Cros, and Jean Richepin, and finally to symbolists such as Stéphane Mallarmé and Joris Karl Huysmans. It considers whether they perceived the city-as-concert as harmonious or dissonant by analyzing the extent to which their poems reflect or inflect the discourse on the picturesque. Poetry about peddlers incorporates the vitality of street noise, the formal experimentation of popular song, and the aural acuity of flâneur-writing into the art of the establishment or the avant-garde. Such mixing of high and low registers is especially salient when Mallarmé's Chansons bas are read alongside Jean-François Raffaëlli's illustrations of types in the tradition of the Cris de Paris. The parodic poetry of Cros and Richepin, written in reaction to Coppée's moralizing sentimental dizain, in a way sets the stage for Mallarmé's “lowly songs.”
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41

Mayer, Peta. Misreading Anita Brookner. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620597.001.0001.

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Anita Brookner was a best-selling women’s writer, Booker Prize winner and an historian of French Romantic art. However she is best known for writing boring, outdated books about lonely, single women. This book offers a queer rereading of Brookner by demonstrating the performative Romanticism of her novels to narrate multiple historical forms of homoerotic desire. It draws on diverse nineteenth-century intertexts from Charles Baudelaire to Henry James, Renée Vivien to Freud to establish a cross-historical and temporal methodology that emphasises figures of anachronism, the lesbian, the backwards turn and the woman writer. Delineating sets of narrative behaviours, tropes and rhetorical devices between Brookner’s Romantic predecessors and her own novels, the book produces a cast of Romantic personae comprising the military man, analysand, queer, aesthete, dandy, flâneur, degenerate and storyteller as hermeneutic figures for rereading Brookner. It then stages the performance of these personae along the specified narrative forms and back through six Brookner novels to reveal queer stories about their characters and plotlines. This new interpretation offers ways to think about Brookner’s contemporary female heroines as hybrid variations of (generally male) nineteenth-century artist archetypes. As a result it simultaneously critiques the heterosexual and temporal misreading that has characterised Brookner’s early reception.
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42

Elkin, Lauren. Flâneuse: Women walk the city in Paris, New York, Tokyo, Venice and London. Farrar, Straus and Giroux, 2017.

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43

Aruna, D'Souza, and McDonough Tom 1969-, eds. The invisible flâneuse?: Gender, public space, and visual culture in nineteenth-century Paris. Manchester: Manchester University Press, 2006.

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44

Elkin, Lauren. Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London. Farrar, Straus and Giroux, 2018.

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45

Aruna, D'Souza, and McDonough Tom, eds. The invisible flâneuse?: Gender, public space and visual culture in nineteenth-century Paris. Manchester: Manchester University Press, 2006.

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46

Boons, Pieter, and Sandrine Colard, eds. Congoville. Leuven University Press, 2021. http://dx.doi.org/10.11116/9789461663948.

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One hundred years after the founding of the École Coloniale Supérieure in Antwerp, the adjacent Middelheim Museum invites Sandrine Colard, researcher and curator, to conceive an exhibition that probes silenced histories of colonialism in a site-specific way. For Colard, the term Congoville encompasses the tangible and intangible urban traces of the colony, not on the African continent but in 21st-century Belgium: a school building, a park, imperial myths, and citizens of African descent. In the exhibition and this adjoining publication, the concept Congoville is the starting point for 15 contemporary artists to address colonial history and ponder its aftereffects as black flâneurs walking through a postcolonial city. Due to the multitude of perspectives and voices, this book is both a catalogue and a reference work comprised of artistic and academic contributions. Together, the participating artists and invited authors unfold the blueprint of Congoville, an imaginary city that still subconsciously affects us, but also encourages us to envision a decolonial utopia.
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47

Cottrell, Anna. London Writing of the 1930s. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474425643.001.0001.

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Exploring London's literary identity during the 1930s Anna Cottrell shows how vital writing was to the capital’s booming leisure scene on the eve of the Second World War. The book explores London and Londoners, with a focus on the way in which London's lower-middle-class citizens became inseparable from central London’s leisure scene in the period’s imagination. In contrast with Modernism’s flâneurs and flâneuses, the key figures of 1930s London literature were shop girls, clerks, dance hostesses, and financially insecure journalists whose leisure hours were spent in London’s cinemas, bars, and glittering teashops. Writing about this type of Londoner and her milieus was at the heart of the decade’s experiments in revitalising the British novel, which to many of the period’s writers and intellectuals appeared to lack energy and authenticity. Meticulous description was central to this project of re-energising British writing, and it is in passages describing London milieus such as the teashop and the Soho nightclub that this book locates the decade’s most original and astute meditations on modernity, mass culture, and the value of ordinary lives.
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48

Boutin, Aimée. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0001.

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This introductory chapter provides an overview of the book's main themes. This book adopts a sensory approach to understanding the city as a sonic space that orchestrates different, often conflicting sound culture. It shows how city noise heightens the significance of selective listening in the modern urban condition and argues for an aural rather than visual conception of modernity. In nineteenth-century Paris, urban renewal did not mark the beginning of a period of diminution of sound, but rather it was a time of increasing awareness of, and emphasis on, noise. By reconsidering the myth of Paris as the city of spectacle, where the flâneur's scopophilia reigns supreme, this book attends to what has been silenced by the visual paradigm that still prevails in nineteenth-century French cultural studies. It explores perceptions of street noise in nineteenth-century Paris by selecting specific sounds from the 1830s to the 1890s—peddling sounds—that were distinctive.
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