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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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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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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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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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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Türker, Deniz. "The oriental flâneur : Khalil Bey and cosmopolitan experience." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39318.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (leaves 90-94).
This thesis offers an account of the professional life and aesthetic pursuits of a remarkable figure of the nineteenth century: Khalil Bey, an Ottoman diplomat and art collector whose career took him from one cosmopolitan city to another. Although, his collection of French art has gotten considerable attention in Western scholarship, due primarily to his commission of Gustave Courbet's Origin of the World, an in-depth study of his life hasn't yet been produced. It is in this regard that this thesis frames Khalil's life chronologically and details his diplomatic career, his three-year sojourn as an art-collector and his evolving egalitarian and reformist ideals. The aim here is to offer a critical interpretation of the figure of Khalil Bey, and in so doing, complicate the terms in which nineteenth-century masculine identity is cast. The overall aim is not to define anew such Baudelairian categories as flaneur, dandy, artist, and bohemian, but rather allow the possibility of how a cosmopolitan Oriental like Khalil Bey, who seamlessly navigated between the capitals of the West and East, offers a compelling model of self-fashioning, and a means of understanding how masculinity, in the age of modernity, was deeply unfixed.
by Deniz Turker.
S.M.
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Menezes, Marcos Antonio de. "Um Flâneur perdido na Metrópole do Século XIX." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/26486.
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Resumo: O presente trabalho discute, a partir das poesias de Baudelaire reunidas em Quadros Parisienses do livro As Flores do Mal, a modernidade imposta ao espaço urbano no século XIX. Esta modernização transformou profundamente não só os lugares mas também as pessoas e as relações entre elas. Neste estudo vamos usar a edição bilíngüe - francês/português - de As Flores do Mal. Nossa leitura de Baudelaire se pautará na necessidade apontada por Fredric Jameson de se "restaurar para a superfície do texto a realidade reprimida e soterrada da (...) história". Vamos, assim, ao encontro do que foi exposto na tese VII de Walter Benjamin, Sobre o conceito da história, em que ele afirma que "nunca houve um documento da cultura que não fosse também um documento da barbárie". No primeiro capítulo, o tema da revolução é explorado via leitura das poesias A uma passante e O cisne, reunidas nos Quadros Parisienses. A Revolução de 1848 será pensada através da associação entre as imagens do quadro de Delacroix A Liberdade Conduzindo o Povo, que retrata a Revolução de 1830, e o poema A uma passante, que falaria do "trauma de 1848". No poema O cisne, o tema da revolução está presente outra vez. Por ser alegórico - talvez o mais alegórico de As Flores do Mal - e o mais marcante entre os que têm como tema a cidade, o poema oferece não só elementos para a interpretação do espaço urbano, como também para compreendermos as opções estéticas de Baudelaire. No segundo capítulo, apresento as cidades como sendo, no século XIX, o espaço que mais passou por transformações. Dessa combinação nasce uma paisagem caótica, desconcertante, descrita pela literatura da primeira metade do século XIX. Para Simmel e Benjamin, a cidade - aquela fruto da indústria e técnica do século XIX - criará um indivíduo que não mais consegue associar seu passado ao presente na elaboração do futuro. O terceiro capítulo procura entender as opções estéticas do poeta. A modernidade de Baudelaire traz em si o seu contrário: a resistência à modernidade. O "novo" do poeta é desesperado, que é justamente uma possibilidade de sentido do francês spleen. Ele se torna ambivalente a essa modernidade cuja invenção lhe é atribuída. A visão alegórica de Baudelaire transforma a cidade em ruínas. Neste trabalho, procuramos contribuir para que historiadores não tenham a interdisciplinaridade apenas como retórica, mas façam uso de fato dos novos objetos. Desse modo, incorporamos a possibilidade de a poesia de Baudelaire ser utilizada como referência para os estudos históricos à medida que ela suscita uma reflexão sobre os vários temas que emergiram, em determinado momento, no seio da sociedade - sobretudo na européia. Procuramos, também, contribuir para a história cultural, que a cada dia ganha espaço e adeptos.
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Souza, Fábio Silva. "Arqueologia do cotidiano : um flâneur em São Cristóvão - Sergipe." Universidade Federal de Sergipe, 2004. https://ri.ufs.br/handle/riufs/5612.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThis dissertation analyses the changing of the public space a long the centuries, having as empiric referring too historic center São Cristóvão town, in Sergipe. This town has politics, historic, archeologic and patrimony important. It appeared in 1590 and it has performed as politics seat of the province until 1855, São Cristóvão was recognized officially since 1938 as monument town of Sergipe Stat. Exempt of the revitalization process, that other historic centers had, this town maintain elements characterized its landscape a long its history. This work landscape a long its history. This work shows as day by day of the social actors, with practice and symbolic disputes, act in sense of the public space formation permitting, then, a multiplicity of its uses, possibiliting the creation territory delimitating at the landscape.
Esta dissertação analisa as transformações do espaço público ocorridas ao longo dos séculos, tendo como referente empírico o centro histórico da cidade de São Cristóvão, em Sergipe. Essa cidade possui relevância política, histórica, arqueológica e patrimonial. Surgida em 1590 e tendo atuado como sede política da província até o ano de 1855, São Cristóvão foi reconhecida oficialmente desde o ano de 1938 como cidade-monumento do Estado de Sergipe. Isento dos processos de revitalização, que permearam outros centros históricos, essa cidade conserva elementos que caracterizaram a sua paisagem ao longo de sua história. Este trabalho demonstra como o cotidiano dos atores sociais, a partir de disputas práticas e simbólicas, atuam no sentido da formação de espaços públicos, permitindo, dessa forma, uma multiplicidade de seus usos, possibilitando a criação de delimitações territoriais na paisagem urbana.
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JANGOUX, Izabela de Almeida Alves. "Antônio Tavernard: vida em versos de um flâneur estático." Universidade Federal do Pará, 2012. http://repositorio.ufpa.br/jspui/handle/2011/3009.
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Antônio Tavernard é um poeta que até então não inspirou muitos estudos acadêmicos a respeito de sua obra literária. O pouco que se sabe dele é o pouco que se repassou até hoje: um poeta triste, uma poesia pessimista e romântica. No entanto, há muito mais do que parece haver nos versos deixados por Tavernard. A vivência guardada em um chalé no fundo do quintal, o afastamento social por conta de uma doença incurável, possibilitou ao poeta a revelação de outros olhares seus sobre a realidade externa. Este trabalho propõe um percurso diferente pela obra poética de Tavernard, reconhecendo os espaços poéticos existentes na mesma. A partir da definição de flâneur dita por Walter Benjamin, aplica-se ao poeta paraense tal adjetivo de forma metafórica, já que ele, mesmo estático fisicamente, passeia pela Belém do início do século XX através de suas sensações e leituras e retrata, em seus poemas, a cidade de uma forma muito singular, como um dia, Baudelaire fez com Paris. Através da leitura de várias edições da extinta revista A Semana, a pesquisa trata também da relação que a obra do poeta tinha com um público contemporâneo formado por escritores famosos da cena literária local como, por exemplo, Bruno de Menezes.
AntônioTavernard is a poet whose literary work has not inspired many cientific studies. The little that is known about him is the little part taught: a sad poet and pessimist and romantic poetry. Therefore, Tavernard´s writing brings more elements than we use to think. The real drama the poet lived represents a lot for the ones who aims to understand his texts, but it shall not be the only way to be followed by Tavernard´s readers. The life he lived on the backyard of his house and the social segregation due to an uncurable illness made possible the revelation of new views over a common situation. This research proposes a different path through Tavernard’s poetry work, recognizing its poetic spaces. With Walter Benjamin’s definition of flâneur, this adjective is applied to the poet on a metaphoric way, because even on a physically static form, he wanders through Belém in the beginning of the 20th century using his feelings and readings, showing the city singularly, much like Baudelaire has once done to Paris.By the reading of many editions of the now exctinct ‘A Semana’ magazine, this research also shows the relation the poet’s work had with a contemporary audience made up by many famous writers from the local scene like, for example, Bruno the Menezes.
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Geraldo, Luis Gustavo Bueno. "As galerias do virtual: o ciberflâneur e a produção artística no ciberespaço." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-26112011-222821/.
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Este trabalho tem como propósito analisar o conceito do ciberflâneur e sua relação com a produção artística que utiliza as redes digitais como recurso estético. O conceito do ciberflâneur é uma construção teórica sobre a figura do flâneur, personagem das metrópoles do século XIX, que propunha um novo olhar sobre os fenômenos urbanos. A pesquisa resgata a relação com a arte moderna que havia na figura original para traçar paralelos com as relações entre o ciberflâneur e a arte da rede. Através da análise de obras que utilizam a internet como base feita no capítulo final deste trabalho, buscamos apontar novos aspectos na conceituação do ciberflâneur, deflagrando aspectos no conceito que podem ser relacionados com as práticas artísticas da rede.This paper aims to analyze the concept of the cyberflâneur and its relation to artistic production that uses digital networks as an aesthetic tool. The concept of the cyberflâneur is a theoretical construct about the figure of the flâneur, the character of the metropolis of the nineteenth century, which proposed a new way of looking to the urban phenomena. The work rescues the relation of the original concept with modern art to draw parallels with the relationship between the cyberflâneur and network art. By examining works that use the Internet as basis in the final chapter of this paper we point out new aspects in the conceptualization of the cyberflâneur, making more evident some aspects of the concept that can be related to artistic practices.
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Santos, Sérgio Luís Maggio Souza. "A crítica flâneur : os caminhos livres da análise teatral contemporânea." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/16194.
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Dissertação (mestrado)—Universidade de Brasília, Faculdade de Comunicação
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Diante de um teatro contemporâneo, a crítica teatral jornalística é apontada como estéril, sem exercitar uma das mais importantes funções: a de dialogar com a complexidade de leitores, os espectadores e os artistas. Essa falta de recursos metodológicos provoca um retardamento e uma incapacidade de leitura da cena teatral contemporânea, cada vez mais híbrida e fragmentada. Essa pesquisa aponta caminhos originais para percorrer esse diálogo, como a apropriação das noções de punctum e do flâneur. Escrita de uma forma dramática, o texto desenvolve-se a partir de três personagens. Um importante crítico de teatro aposentado, seu assistente e doutor em crítica teatral e um mestrando debruçam sobre esse problema de pesquisa para buscar um caminho próprio capaz de permitir que o discurso crítico se alce ao mesmo campo do discurso teatral contemporânea. Com a mescla de teorias e preposições, eles chegam ao conceito do crítico flâneur e todas as suas imbricações. Num formato híbrido, entre o texto acadêmico e a ficção, essa dissertação de mestrado se apropria dos 13 anos de atividade do autor como crítico teatral em jornais brasileiros, num exercício de aproximação e distanciamento científico.
In front of a contemporary theatre, theatrical criticism is singled out as sterile, journalistic without exercising one of the most important functions: that of dialogue with the complexity of readers, the audience and the artists. This lack of methodological resources causes a delay and an inability to read the contemporary theatre scene, increasingly hybrid and fragmented. This research points to original paths traverse this dialogue, as ownership of notions of punctum and flâneur. Written dramatically, the text develops from three characters. An important theater critic retired, his assistant and doctorate in theatrical criticism and a graduate student dealing with this problem of research to seek a path itself able to allow critical discourse if Moose at the same field of contemporary theatrical discourse. With the mix of theories and prepositions, they arrive at the concept of the flâneur critic and all its impact. In a hybrid format, between the academic and fiction text, this dissertation appropriates of the 13 years of the author's activity as theatrical critic in Brazilian newspapers, a scientific approach and distancing exercise.
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Torrecilla, Patiño María Elia. "Flâneur, Ciberflâneur, Phoneur: Un paseo de resignificación del flâneur por el espacio urbano moderno, el ciberespacio y el espacio híbrido. Acciones artísticas propias entre 2011-2018." Doctoral thesis, Universitat Politècnica de València, 2018. http://hdl.handle.net/10251/107391.
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La presente tesis parte de la noción de "paseo" como un acto simbólico que permite transformar el espacio, constituyéndose como una metáfora del movimiento mental, físico y artístico. A partir de esta idea, se plantea la recuperación del flâneur, figura paradigmática de la experiencia urbana moderna que surge en París en el siglo XIX y que, a grandes rasgos, se distingue por caminar sin rumbo y lentamente en un espacio que empieza a caracterizarse por la prisa y la velocidad, gozando de una ociosidad que le permite dejar libre la imaginación y divagar en un tiempo que comienza a estar dominado por el capitalismo, así como su gusto por la multitud, sin mezclarse con ella, dentro de la cual logra disfrutar de la soledad y el anonimato (Benjamin, 1972). Por aprovechar al máximo la experiencia urbana moderna, su importancia reside en que se convierte en una estrategia analítica que permite explorar nuevos contextos posteriores, especialmente aquellos generados por el uso de las tecnologías en el siglo XX (ciberespacio), y en el siglo XXI con la consolidación del espacio virtual y la expansión del uso de las tecnologías en el espacio físico que da lugar al espacio híbrido, haciendo posible comprender nuevas claves y prácticas artísticas surgidas desde estos entornos. De esta manera, en el presente estudio se persigue establecer una estrategia analítica que nos permita llevar a cabo la reconsideración y la resignificación de la figura del flâneur en los espacios planteados y que es abordada en un recorrido que se encuentra dividido en tres partes, correspondientes a cada uno de los espacios urbanos contemporáneos explorados: espacio urbano moderno (flâneur), ciberespacio (ciberflâneur) y el espacio híbrido, entre el físico y el virtual, con el uso de la telefonía móvil (phoneur).
Este recorrido se lleva a cabo siguiendo una metodología interdisciplinar, guiada tanto por estudios teóricos como prácticos y siendo intermediaria con otras esferas no específicamente artísticas como la literatura, la arquitectura, estudios del espacio urbano o nuevas tecnologías. Como aplicación práctica de esta tesis doctoral se presenta la producción artística propia realizada de manera paralela y complementaria a la parte teórica, permitiendo una puesta en práctica que a su vez es generadora de discusión teórica, planteando reflexiones y cuestionando los diferentes temas tratados a través de un conjunto de 32 acciones artísticas (individuales y colectivas) en las que se ha trabajado tanto en el espacio físico en relación a la figura del flâneur, en el virtual respecto a su correspondencia con el ciberflâneur, y en el híbrido en relación al phoneur.This thesis begins with the notion of the "stroll" as a symbolic act that allows for the transformation of space, into a metaphor of mental, physical and artistic movement. Starting from this idea, the recovery of the figure of the flâneur is proposed - a paradigmatic figure of modern urban experience, who emerges in 19th Century Paris and who, in rough outlines, is notable as a a figure who wanders slowly without direction in a space that begins to characterize itself by its state of hurrying and speed - and who delights in the leisure that sets his imagination free, and who wanders in times that that are beginning to become dominated by capitalism, as well as in his taste for crowds without mingling with them, as he manages to enjoy his solitude and anonymity (Benjamin, 1972). Making the most of modern urban experience, his importance resides in the fact that he becomes an analytic strategy which allows him to explore new contexts, especially those generated with the use of 2oth Century technology (cyberspace), and in the 21st Century -with the consolidation of virtual space and the expansion of the use of technology in physical space that gives way to hybrid space, making it possible to understand new keys and artistic processes that emerge from these surroundings. In this way, this present study pursues the establishment of an analytical strategy that will take us to the reconsideration and redefinition of the figure of the flâneur in the spaces we have proposed, and is tackled on a route divided into three parts, each part corresponds to the contemporary urban spaces that are explored: modern urban space (flâneur), cyberspace (cyberflâneur) and hybrid space -between physical and virtual- with the use of the cell phone (phoneur). This journey follows an interdisciplinary methodology, guided as much by theoretical studies as by practical ones, and being an intermediary with other spheres not specifically artistic, such as literature, architecture, studies of the urban space or new technologies. As a practical application of this doctoral thesis, we present our own artistic production, carried out in a parallel fashion, complementary to the theoretical part. This allows a putting in practice that generates theoretical discussions, proposing reflection and questioning the different themes being addressed, by a series of 32 artistic actions (individual and collective) where we have worked as much in physical space -in relation to the figure of the flâneur- as in virtual space, with respect to its correspondence to the cyberflâneur, and in hybrid space in relation to the phoneur.
La present tesi parteix de la noció de "passeig" com un acte simbòlic que permet transformar l'espai, constituint-se com una metàfora del moviment mental, físic i artístic. A partir d'aquesta idea, es planteja la recuperació del flâneur, figura paradigmàtica de l'experiència urbana moderna que sorgeix a París en el segle XIX i que, a grans trets, es distingeix per caminar sense rumb i lentament en un espai que comença a caracteritzar-se per la pressa i la velocitat, gaudint d'una ociositat que li permet deixar lliure la imaginació i divagar en un temps que comença a estar dominat pel capitalisme, així com el seu gust per la multitud, sense barrejar-se amb ella, dins de la qual aconsegueix gaudir de la solitud i l'anonimat (Benjamin, 1972). Per aprofitar al màxim l'experiència urbana moderna, la seua importància resideix que es converteix en una estratègia analítica que permet explorar nous contextos posteriors, especialment aquells generats per l'ús de les tecnologies en el segle XX (ciberespai), i en el segle XXI amb la consolidació de l'espai virtual i l'expansió de l'ús de les tecnologies en l'espai físic que dóna lloc a l'espai híbrid, fent possible comprendre noves claus i pràctiques artístiques sorgides des d'aquests entorns. D'aquesta manera, en el present estudi es persegueix establir una estratègia analítica que ens puga permetre dur a terme la reconsideració i la resignificació de la figura del flâneur en els espais plantejats i que és abordada en un recorregut que es troba dividit en tres parts, corresponents a cadascun dels espais urbans contemporanis explorats: espai urbà modern (flâneur), ciberespai (ciberflâneur) i l'espai híbrid, entre el físic i el virtual, amb l'ús de la telefonia mòbil (phoneur). Aquest recorregut es du a terme seguint una metodologia interdisciplinària, guiada tant per estudis teòrics com pràctics i sent intermediària amb altres esferes no específicament artístiques com la literatura, l'arquitectura, estudis de l'espai urbà o noves tecnologies. Com aplicació pràctica d'aquesta tesi doctoral es presenta la producció artística pròpia realitzada de manera paral·lela i complementària a la part teòrica, permetent una posada en pràctica que al seu torn és generadora de discussió teòrica, plantejant reflexions i qüestionant els diferents temes tractats a través d'un conjunt de 32 accions artístiques (individuals i col·lectives) en les quals s'ha treballat tant en l'espai físic en relació a la figura del flâneur, en el virtual respecte a la seua correspondència amb el ciberflâneur, i en l'híbrid en relació al phoneur.
Torrecilla Patiño, ME. (2018). Flâneur, Ciberflâneur, Phoneur: Un paseo de resignificación del flâneur por el espacio urbano moderno, el ciberespacio y el espacio híbrido. Acciones artísticas propias entre 2011-2018 [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/107391
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Nóbrega, Lara Santina Santos da. "O desvelar do centro histórico de João Pessoa pelo turista/flâneur." reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/15052.
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Dissertação (mestrado)—Universidade de Brasília, Centro de Excelência em Turismo, 2013.Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2014-01-13T10:44:06Z No. of bitstreams: 1 2010_LaraSantinaSantosdaNobrega.pdf: 7285978 bytes, checksum: 39ee4abc852175ab6fc06d70722760d9 (MD5)
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Esta dissertação tem o objetivo de discutir a relação entre a experiência de caminhar/passear e o desvelar do Centro Histórico de João Pessoa pelo turista/flâneur. O fenômeno turístico, a experiência turística, o tempo, o caminhar/passear, o turista/flâneur, a paisagem e o olhar do turista são abordados como conceitos essenciais para esta discussão. Inicialmente, o turismo é tratado a partir dos discursos tidos como mais pertinentes, e que o concebem como fenômeno, como experiência do sujeito, considerando-se os sentidos daqueles que o envolvem. Nesse processo de desvelar da cidade, o tempo é um fator relevante e se configura como um elemento diferencial para a experiência do turista. Caminhar/passear pela cidade transcende, aqui, a noção de uma mera atitude locomotiva do corpo, posto que tais ações englobam o local, a maneira como se passeia e o olhar daquele que passeia. Propõe-se, assim, a concepção de um turista diferente daquele indivíduo tido apenas como mero consumidor de cartões-postais. O turista/flâneur evocado neste projeto é aquele que passeia pelos lugares com desenvoltura e atenção, sempre disponível às diferentes percepções. Descreve-se, ainda, a capital paraibana e a consolidação do seu Centro Histórico, com o intuito de fazer uma breve apresentação do estudo de caso em questão. A partir do Centro Histórico de João Pessoa, empreenderam-se as considerações sobre a experiência singular de caminhar/passear pela cidade. _______________________________________________________________________________________ ABSTRACT
This thesis aims to discuss the relationship between the experience of roaming/walking and the unveiling of João Pessoa’s Historic Center by the tourist/flaneur. The phenomenon of tourism, the tourist experience, the time, the roam/walking, the tourist/flâneur, the landscape and the tourist gaze are discussed as essential concepts to this discussion. Initially, tourism is treated from the speeches considered more relevant, and that conceive it as a phenomenon, as the subject experience, considering the senses of those who involve them. In this process of uncovering the city, the time is a relevant factor and is configured as a differential element to the tourist experience. Roam/walking through the city transcends, here, the notion of a mere locomotive attitude of the body, since such actions include the location, the way you walk and the look of that who walks. It is proposed, thus, the conception of a different tourist than that individual had as a mere consumer of postcards. The tourist/flâneur evoked in this dissertation is one who walks through places with ease and attention, always available to different perceptions. It describes, also, Paraiba’s capital and the consolidation of its Historic Center, in order to make a brief presentation of the case study in question. From the Historic Center of João Pessoa, the considerations were undertaken on the unique experience of roaming/walking in the city.
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Hinerasky, Daniela Aline. "O fenômeno dos blogs street-style: do flâneur ao “star blogger”." Pontifícia Universidade Católica do Rio Grande do Sul, 2012. http://hdl.handle.net/10923/2176.
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Previous issue date: 2012This research investigates the street style blog phenomenon, in the narcissistic digital society, in order to comprehend it’s logic and it’s interlocutors, and in particular, to understand the collective imaginary of street fashion and blogger dynamics, as they are flâneurs of contemporaneity and emblematic fashion icons. Amongst the objectives aimed, the digital street style movement is explored and described from a historical and editorial structure perspective. A systematization through typology is also proposed for the street style blogs genre in this research. We have started the investigation with a study of technical aspects of blogs and the formation of styles from traits traced in modern and postmodern urbanity to better recognize these blogs not only as a strategic communication vehicles but as environments of interaction and projection spaces for individuals and social groups that target acknowledgment and fame. From a Comprehensive Sociology approach to map the street style blogging phenomenon, a quanti-qualitative research was realized, in which included a wide collection of blogs, gathering of data and netnographic observation of the corpus (The Sartorialist, The Face Hunter, Garance Dore, Easy Fashion Paris, RIOetc, My Little Fashion Diary, Art Of The Trench), during the months of May and October 2011, participant observation and a field log updated daily about the dynamics of data gathering on the bloggers and the interviews. In this process, we distinguished five types of blogs: locative street style; street style cool hunters; street style diary (or ego blogs); corporate and mixed, which are blogs that translate a cultural text about fashion, consumption and daily urban life.Street style blogs are a virtual roadway where the street represents the symbolic universe of the runways and it’s surroundings. It is noteworthy that any version of a street style blog is edited, therefore, it could represent a personal, structural professional or marketer point of view. In this discussion, the street exceeds the dimensions of physical places. It’s all about a relational space, the exuberance of crossing to one sidewalk to another, a laboratory of style construction, a dialogue between persons, the stage of an spectacle and the gateway to stardom for these bloggers and cultural intermediators.
A pesquisa investiga, na sociedade narcisista digital, o fenômeno dos blogs street-style, a fim de compreender suas lógicas e interlocutores, em particular, o imaginário coletivo da moda de rua e as dinâmicas do blogueiro como um flâneur da contemporaneidade e uma figura de moda emblemática. Entre os objetivos, explora-se e descreve-se o movimento do street-style digital do ponto de vista histórico e do viés estrutural-editorial e propõe-se uma sistematização para o gênero blogs street-style por meio de uma tipologia. Partimos do estudo dos aspectos técnicos dos blogs e da conformação dos estilos a partir dos traços da urbanidade moderna e pósmoderna para compreender esses blogs não somente como veículos de comunicação estratégicos, mas como ambientes de interação e espaços de projeção para sujeitos e grupos sociais que buscam reconhecimento e fama. Tomando o eixo da Sociologia Compreensiva, para dar conta do mapeamento do fenômeno da blogagem street-style, realizou-se uma pesquisa quanti-qualitativa que inclui um conjunto de procedimentos, como amplo levantamento dos blogs, processos de coleta e observação netnográfica do corpus (The Sartorialist, The Face Hunter, Garance Dore, Easy Fashion Paris, RIOetc, My Little Fashion Diary, Art Of The Trench), em maio e outubro de 2011, observação participante e registro em diário de campo acerca das dinâmicas da captação dos blogueiros e entrevistas. Nesse processo, diferenciamos cinco tipos de blogs: street-style locativos; street-style cool-hunters; os street-style diary (ou ego-blogs); os corporativos; e os mistos, os quais traduzem um texto cultural da moda, do consumo e do cotidiano urbano. Os blogs street-style são a calçada virtual onde a rua representa o universo simbólico das passarelas e seu entorno.Destaca-se que qualquer versão de blog street-style é editado e, portanto, sempre é um ponto de vista, seja em nível pessoal, profissional-estrutural ou mercadológico. Nessa discussão, a rua ultrapassa a dimensão do ambiente físico. Trata-se de um espaço relacional, da travessia e da exuberância entre uma calçada e outra, é um laboratório de construção de estilos, é o diálogo e a ponte entre as pessoas, é o palco para o espetáculo, e é porta para o estrelato desses bloggers, intermediadores culturais.
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Borie, Françoise. "Le "flâneur" : Franz Hessel : essai d'interprétation de l'oeuvre romanesque et essayiste." Paris 8, 1998. http://www.theses.fr/1998PA081401.
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Domingues, Maria Izabel Velazquez. "The role of the "flâneur" in Jack Kerouac's novel On the Road." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/14983.
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Trata-se de uma leitura crítica do romance On the Road, do escritor norte-americano Jack Kerouac, cujas vida e obra representam a insatisfação social e a manifestação artística de uma geração de poetas e novelistas denominada, nas décadas de 50 e 60, The Beat Generation ou The Beatniks. Esta leitura consiste em uma investigação para estabelecer relações entre a tríade autor-narrador-protagonista na narrativa proposta. Como apoio teórico temos o olhar do filósofo alemão Walter Benjamin. O enfoque escolhido contempla as reflexões de Benjamin sobre autoria, experiência e modernidade; mas, sobretudo, privilegia a sua concepção do flâneur; uma vez que o objetivo do trabalho é mostrar o movimento e o papel exercido pelo mesmo, tanto no corpus literário como na vida do autor Beatnik. Para tanto, esta dissertação está dividida em três partes. A primeira apresenta um breve histórico da situação dos Estados Unidos no pós-guerra, a fim de contextualizar e discutir a criação do movimento Beat como vanguarda artística daquela época. A segunda parte introduz o pensamento de Walter Benjamin acerca do flâneur. Destaca, também, fatos e momentos relevantes de sua vida e obra. Apresenta, ainda, o ponto de vista de Sérgio Rouanet sobre a obra do filósofo. O terceiro momento analisa o romance On the Road em conexão com os movimentos do flâneur e no âmbito da tradição de Literatura de Viagem, dando relevância às questões de autoria. Deste modo, na conclusão, espera-se legitimar o papel do flâneur no espaço narrativo e, também, histórico-social daquela geração.This is a critical reading of On the Road, a novel by the North American writer Jack Kerouac, whose life and work represent the social dissatisfaction and the artistic manifestation of a generation of poets and novelists denominated, in the decades of 50 and 60, The Beat Generation, or The Beatniks. The work consists of an investigation to establish relationships among the triad author-narrator-protagonist in the proposed narrative. Supported by the theory of Walter Benjamin, the chosen theme contemplates the reflections of Benjamin about authorship, experience and modernity; but, above all, it privileges his conception of the flâneur; once the objective of the work is to show his movement and role in the literary corpus, as well as in the life of the Beatnik author. This thesis is divided in three parts. The first presents a brief historical comment on the situation of the United States in the postwar period, in order to contextualize and discuss the creation of the Beat Movement as an avantgardist manifestation. The second part introduces Kerouac and Benjamin, highlighting facts and important moments of their lives and work through the movements of the flâneur. The third moment analyzes On the Road in connection with Walter Benjamin's thoughts and in the extent of the tradition of Travel Literature, emphasizing the relevance of authorship. In the conclusion, I expect to legitimate the role of the flâneur in the narrative and socio-historical scope of that generation.
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TEIXEIRA, Paulo Octávio Nunes Dias. "Ricardo Ries, Flâneur e detetive: a apresentação de lisboa em José Saramago." Universidade Federal da Bahia, Instituto de Geociências, 2013. http://repositorio.ufba.br/ri/handle/ri/20156.
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RESUMO Num âmbito interdisciplinar, o da Geografia e Literatura, a presente dissertação examina a representação da cidade de Lisboa no romance O Ano da Morte de Ricardo Reis, de José Saramago. Da leitura do romance é possível deduzir uma relação significativa entre o protagonista e os lugares por si frequentados, lugares que surgem carregados de memória e de referências textuais. O que une os lugares é o movimento incessante de Ricardo Reis: Lisboa é representada seguindo os seus passos, prática deambulatória que torna visível a dinâmica específica de uma cidade, ao mesmo tempo que nos conduz na busca da sua identidade adiada. O romance deixa perceber uma geografia pessoal, uma estruturação particular do espaço urbano, assim como uma (re)criação do espaço por meio do movimento e de uma percepção que faz apelo a todos os sentidos no espaço-tempo dado pelos percursos. A abordagem seguida no estudo da representação da cidade no romance baseia-se nas teorias de Benjamin a respeito do flâneur. No autor alemão, o flâneur constitui um motivo narrativo e discursivo no qual se firma a representação e percepção da vida moderna no labirinto das grandes cidades. Ricardo Reis desenvolve uma atividade visual contínua, alimentada pelos deslocamentos quase ininterruptos pelo centro antigo de Lisboa. No decurso desses itinerários, é testemunha de um vínculo entre a organização perceptiva dos lugares, dos modos de mobilidade e da relação que o flâneur estabelece com a figura do detetive. A flânerie do protagonista constitui um instrumento de leitura e de figuração de Lisboa, que questiona e critica os fundamentos das representações instituídas da cidade em plena ditadura do Estado Novo.
ABSTRACT In an interdisciplinary context, the one of Geography and Literature, this dissertation examines the representation of Lisbon in the novel of José Saramago, O Ano da Morte de Ricardo Reis. From the reading of the novel it is possible to deduct a significant relationship between the protagonist and the places frequented by him, places that come loaded with memory and textual references. What unites the places is the incessant movement of Ricardo Reis: Lisbon is represented by following in his footsteps, ambulatory practice that makes visible the specific dynamics of a city, while leads in the search for his postponed identity. The novel reveals a personal geography, a particular structuring of urban space, as well as a (re)creation of space through movement and a perception that appeals to all the senses in space-time given by the paths. The approach taken in the study of the representation of the city in the novel is based in Benjamin’s theories regarding the flâneur. In the German author, the flâneur is a narrative and discursive reason in which is based the representation and perception of modern life in the labyrinth of big cities. Ricardo Reis develops a continuous visual activity, fueled by his almost uninterrupted shifts in the old center of Lisbon. During these routes, he is witness to a link between perceptual organization of places, modes of mobility and the relationship that the flâneur establishes with the figure of the detective. The flânerie of the protagonist is a tool for reading and figuring Lisbon, questioning and criticizing the foundations of the of the city representations in the Estado Novo dictartorship.
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Soula, Théo. "Le flâneur mégapolitain : géographie littéraire de Paris dans l’œuvre de Jacques Réda." Electronic Thesis or Diss., Toulouse 2, 2018. http://www.theses.fr/2018TOU20096.
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Jacques Réda a fait de la grande ville un des personnages principaux de l'œuvre poétique qu'il bâtit depuis les années 1970. Il s’agit alors pour nous d'approcher la ville à travers le texte dans une double perspective littéraire et géographique ou, pour le dire autrement, de nous intéresser au Paris de Réda comme à un objet constitué à la fois littérairement et géographiquement. En effet, le poète reconduit en la métamorphosant la tradition littéraire de la flânerie parisienne qui, de Louis-Sébastien Mercier à Jean Rolin, accompagne et interroge les évolutions de la grande ville. C’est ainsi l’image et l’expérience de la « ville énorme », « capitale de la modernité » devenue mégapole « surmoderne », que Réda se donne pour tâche de mettre en mots, à travers la répétition de ses déambulations. Dès lors, la géographie innerve sa poésie et sa prose en tant que référence culturelle (à travers l’usage des cartes, le recours à la mesure, l’étude de terrain…), en tant que paradigme phénoménologique qui subsume son approche du paysage, et en tant que discours. Le caractère flâneur qui se dégage de la représentation du poète-marcheur manifeste un modèle atypique de la mobilité urbaine : multimodal, indéfinissable, le déplacement de Réda rend compte d’un espace dynamique, différencié, à la fois centripète et centrifuge. Le flâneur se présente comme un piéton contrarié et contrariant, jouant avec les modalités de la déambulation comme avec autant de manières d’affiner l’approche de la ville, et de remettre en cause certaines transformations qui en défigurent le paysage. La poésie des ruines qui se dégage de l’œuvre exprime en effet l’ère crépusculaire que traverse la grande ville moderne. La mise en scène d’une « fin » de ce modèle urbain se traduit alors par une série de ruptures qui fait de l’expérience de la ville une épreuve des sens et du sens : le flâneur, en immersion sensorielle dans le paysage urbain, ne pense pas moins cette dernière et la conçoit comme un espace décentré et dé-mesuré, qui en vient à négliger la dimension humaine, et à constituer une énigme définitive. Pour le provincial que reste malgré tout Jacques Réda, il s’agit alors de déceler des points de fuite pour ménager, au cœur même de la grande comédie urbaine, un envers du décor. À défaut de marquer la « fin » de l’ère du « piéton de Paris », l’œuvre de Réda peut ainsi être considérée comme un creuset dans lequel s’élaborent les nouveaux régimes de la flânerie contemporaine et de nouvelles formes de citadinitéRéda has been placing the big city at the core of his poetic works since the 1970s. This thesis aims at studying Réda’s works with a double perspective: geographic as well as literary. On one hand, we explore the image and experience of Paris as the traditional Parisian flâneur sees it, following the methodology of the literary geography that has emerged as a new field of study in literary research. On the other hand, Réda, through his wanderings, conveys the image and experience of the big city throughout its historical evolution, from “la ville énorme” to the “postmodern” city. Geography, as an academic discipline and as a practice, is a consubstantial part of Réda’s vision and writing of the city.Réda, despite being a provincial himself and through the way he travels within the city, sheds light on the urban paradoxes. If it seems safe to say that the “modern” city is on a decline, it appears that Réda aims at reinventing the urban experience of walking/wandering in order to maintain a human-centered dimension of the city/a human-sized city
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Roca, Leiva Macarena Alejandra. "Un Flâneur a Contrapelo: (Des) configuración de Modernidad en Espantapájaros de Oliverio Girondo." Tesis, Universidad de Chile, 2007. http://www.repositorio.uchile.cl/handle/2250/108954.
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La presente investigación determina que el poemario Espantapájaros (1932) de Oliverio Girondo desmantela la modernidad decimonónica mediante la nueva concepción de arte vanguardista. Para este cometido se trabajará con la figura del flâneur, personaje literario o sujeto urbano presente en ambos periodos históricos, que exhibirá diferencias en la configuración de su mirada y en la construcción de la historia imaginada. A la vez, mediante su presencia, se establecerá la condición del arte nuevo o de avanzada, la cual transitará por los soportes temáticos, estratégicos y estructurales de la poética de Espantapájaros. El proceso será revisionista para ambos momentos epocales, lo que permitirá evidenciar la ruptura de la tradición y la integración de un tipo de arte regional, a la vanguardia mundial, mediante la estética girondina
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Carlaw, Darren Richard. "The flâneur as foreigner : ethnicity, sexuality and power in twentieth century New York writing." Thesis, University of Newcastle Upon Tyne, 2008. http://hdl.handle.net/10443/2489.
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The intention of this thesis is to examine the production and function of twentieth century Manhattan's various marginal communities and underworlds as mediated through the New York walking narrative. The literary flaneurs specialist reading of the cityplace offers an important ground level entry point into these communities, revealing significant tension within the multicultural, multi-racial city. The thesis is divided into five chapters. The first provides a historical and theoretical foundation by examining the origins of the literary flaneur. Before turning to the contemporary material, this chapter offers a photo-fit of the Parisian flaneur and demonstrates that although the New York flaneur is an almost unrecognisable distortion of his or her nineteenth century European counterpart, the two share key characteristics. The chapter then charts the transposition of the flaneur from Europe to America and examines how important literary precursors to the twentieth century New York walking narrative, such as works by Baudelaire, Benjamin, Poe and Whitman, influence and inform the texts studied in the subsequent chapters. Chapter two is a study of the work of Jack Kerouac and James Baldwin. This chapter reveals the racial tension between Manhattan' s white bohemia and black ghetto by examining the flaneur's crossing of racial boundaries within the cityplace. Chapter three focuses on the work of Allen Ginsberg and Frank O'Hara and examines the tension between 'straight' and "queer' space by charting the gay flaneur's path through the city. Chapter four examines the blurring of flanerie and vagrancy in the work of llerbert Huneke and David Wojnarowicz by considering the perspective of two homeless writers hustling on the streets of New York. Chapter five is a study of gentrification in Sarah Schulman's Girls. Visions and Everything and Bret Easton Ellis's American Psycho. These two texts allow for gentrification to be viewed from opposing perspectives, through the eyes of two radically different urban wanderers. The thesis as a whole examines the precarious position of Manhattan' s 'outsiders' and exposes the manner in which all forms of transgressive activity. including flanerie, are at risk of being stifled or eradicated by surveillance, policing and gentrification. The flaneurs own position within the cityplace is critically reassessed with regards to his or her potential to either perpetuate or destroy marginal communities via his or her advertising of 'otherness'.
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Shin, Ji-Eun. "Le flâneur moderne : l'existence erratique sur la frontière entre la solitude et l'être-ensemble." Paris 5, 2007. http://www.theses.fr/2007PA05H087.
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Ce travail de recherche porte sur la problématique sociologique de l'errance, de l'hospitalité et de la résistance : la flânerie des hommes modernes. La première partie consiste à revenir sur le cadre socio-poétique de la post-modernité de la flâneur. Dans la deuxième partie, il s'agit d'une étude des personnages-flâneurs à partir d'une relecture des oeuvres littéraires. On constate les traits de l'anonymat et d'une insolite communicabilité, associée à la « fêlure » du sujet. A partir de cette fêlure, la troisième partie caractérise l'attitude de l'homme moderne : « aimer la solitude dans la foule ». On voit la ville se transformer autour du flâneur qui acquiert une sensibilité nouvelle en labyrinthe, en océan. L'image de l'eau nous fait comprendre le désir de ne pas se fixer et de la légèreté du flâneur-étranger. La quatrième partie suggère le « Sisyphe heureux » intempestif. Dans la dernier partie, cette thèse présente la flânerie comme une forme de l'hospitalité et de la résistanceThis work proposes a discourse on the modern flaneur around the sociological problem of wandering, hospitality and resistance. The first part consists in returning to the socio-poetic framework of post-modernity in which one wanders. In the second part, we seek characters-flaneurs based on a reading of literary works. We establish the features of anonymity and a strange communicability, associated with the "fissures" of the subject. The third part characterizes the attitude of the 'modern' man : "to love loneliness in a crowd" starting from this fissure. The city changes around the flaneur who acquires a new sensitivity within the labyrinth or 'ocean'. The image of water makes us understand the subject's desire not to fix itself, the subject's desire for the lightness of the flaneur-foreigner. The fourth part suggests "happy Sisyphus" despite everything. In the last part, we show 'wandering' as a form of hospitality and resistance
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Cho, Hee-Won. "Le thème du flâneur chez Baudelaire et le dualisme non-dualiste du Son bouddhisme coréen." Paris 1, 2008. http://www.theses.fr/2008PA010592.
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Cette étude consiste à examiner le thème du flâneur chez Baudelaire dans la perspective du dualisme non-dualiste du Son bouddhisme coréen. Comme le faisaient les maîtres du Son, il se méfie de la rationalité. Pour être libre de celle-ci, Baudelaire prend l'ivresse comme moyen, parce que l'ivresse rend possible toutes les réversibilités, y compris du « moi» et de l'Autrui. Cette expérience de l'ivresse correspond à celle de l'éveil Son bouddhique dans la mesure où elle constitue une sorte d'expérience de la vérité. Gardant cet éveil du vrai «moi» et du vrai «monde », notre homme décide de participer au monde ordinaire avec son imagination. À la fois gardant et perdant ses distances à l'égard de la foule, telle est l'activité du flâneur. Du fait que tout est réversible dans le monde baudelairien, la participation se termine par l'orientation vers l'observation, le solidaire vers le solitaire. De plus, les deux coexistent sans aucun conflit mais de façon dynamique: ce qui correspond au dualisme non-dualiste du Son bouddhisme.
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Murail, Estelle. "Beyond the Flâneur : walking, Passage and Crossing in London and Paris in the Nineteenth Century." Paris 7, 2013. http://www.theses.fr/2013PA070047.
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Cette thèse analyse les différentes versions du flâneur produites à Paris et à Londres au cours du I9eme siècle, et suggère que cette figure est née de croisements entre la production écrite des deux capitales. Si ce personnage composite et protéiforme a pu évoluer et perdurer, c'est en déambulant de journaux en essais, de romans en poèmes. Etant données ses nombreuses métamorphoses (il devient tour à tour caricature, héros romanesque, poète maudit, concept théorique), le flâneur se fait concept souple exigeant du critique une grande rigueur tout autant qu'une pensée capable de s'égarer. Le corpus de travail reflète cette flexibilité puisque des extraits d'essais, de journaux et de physiologies y côtoient des écrits de De Quincey, Dickens, Brontë, Balzac ou encore Baudelaire. Le premier chapitre explore les origines journalistiques du flâneur à Paris et à Londres. Le chapitre 2 montre que le flâneur doit être vu au prisme d'autres figures d'observateur l'ayant précédé. Au gré de son parcours dans le temps, le flâneur emprunte et abandonne sans cesse les caractéristiques de ses prédécesseurs. Le chapitre 3 examine comment les technologies optiques ont façonné ses « façons de voir». Le chapitre 4 constitue une phénoménologie de la marche démontrant que le regard du flâneur est ancré dans un corps vivant soumis aux conditions d'expérience que sont le temps et l'espace. Le chapitre 5 est une relecture de l'histoire du flâneur à travers l'idée baudelairienne de « croisement ». Cette thèse conclut avançant que la position toujours en décalage du flâneur (due à ses origines croisées) le rend « contemporain », c'est-à-dire plus à même qu'autrui de saisir son propre tempsThis thesis examines reworkings of the flâneur in France and Britain during the nineteenth century (1806-1869). It suggests that this urban observer emerged out of crossings between French and British print culture. It has endured because it is a protean, composite figure which weaves in and out of literature, journalism and essays. Its roots in print fostered a form of cross-cultural pollination which ensured the power and persistence of the figure. Given the many metamorphoses of the flâneur, the thesis looks at flânerie as a fluid concept which demands both rigour and a possibility of going astray. The corpus reflects this flexibility since it includes newspapers, physiologies, and works by De Quincey, Dickens, Brontë, Balzac or Baudelaire. The thesis begins with a study of the flâneur's origins, exploring how the early Parisian flâneur finds predecessors in the London press. Chapter 2 demonstrates how the flâneur is rooted in the collective literary imagination and is thus inextricably linked to other gazing figures whose traits he adopts and discards as he moves seamlessly through time. Chapter 3 examines how optical technologies altered thé flâneur's "ways of seeing Chapter 4 is a phenomenological exploration of walking, demonstrating that the flâneur's gaze is also created through a living, moving body embedded in time and space. Chapter 5 introduces the concept of croisement, a heuristic device which is used to understand the rôle of the flâneur as go-between and re-read his history as one of constant crossings and crossovers. It concludes that the flâneur's permanent 'out-of-jointness' makes him 'contemporary' - more capable than others of grasping his own time
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Murail, Estelle. "Beyond the flâneur : walking, passage and crossing in London and Paris in the nineteenth century." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/beyond-the-flaneur(63133494-2062-4b12-a4c2-b4e6d9596548).html.
Full textAbstract:
This thesis examines reworkings of the flâneur in France and Britain during the nineteenth century (1806-1869). It suggests that before it was made famous by Baudelaire, this urban observer emerged out of French and British print culture, and of crossings between them. It has endured because it is a protean, composite figure which weaves in and out of literature, journalism and essays. Its roots in print, the thesis argues, fostered a form of cross-cultural pollination which ensured the power and persistence of the figure. Given the metamorphosis of the flâneur from ‘type’ to literary character to ‘critical concept,’ the thesis looks at flânerie as a fluid concept which demands both rigour and a possibility of going astray. My corpus reflects this flexibility since it includes newspapers and physiologies, as well as works by De Quincey, Dickens, Brontë, Balzac and Baudelaire. The thesis is chronologically structured, and begins with a study of the flâneur’s origins, exploring how the early Parisian flâneur of the press and physiologies finds predecessors and descendants in the London press. Chapter 2 demonstrates how the flâneur is rooted in the British and French collective literary imagination and is thus inextricably linked to other gazing figures whose traits he adopts and discards as he moves seamlessly through time. Chapter 3 examines how ever-evolving optical technologies profoundly altered the flâneur’s ‘ways of seeing.’ Chapter 4 is a phenomenological exploration of walking, demonstrating that the flâneur’s gaze is also created through a living, moving body embedded in time and space. The final chapter introduces the concept of croisement, a heuristic device I develop to understand the role of the flâneur as passeur and go-between and re-read the literary history of flânerie as one of constant crossings and crossovers. It concludes that the flâneur’s permanent in-betweenness or ‘out-of-jointness’ makes him ‘contemporary’1 – more capable than others of grasping his own time.
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Sousa, Patrícia de Castro. "JOÃO DO RIO: O REPÓRTER COM ALMA DE FLÂNEUR CONDUZ A CRÔNICAREPORTAGEM NA BELLE ÉPOQUE TROPICAL." Universidade Federal de Santa Maria, 2009. http://repositorio.ufsm.br/handle/1/9806.
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The research has as its main object parts of João do Rio s writings found in A Alma Encantadora das Ruas (1908). The goal of the research and dissertation herein presented is to investigate the style present in these texts, intending to demonstrate that they represent a interwining transition between a strict literature contribution to a
specific jounalistic text: João do Rio would had established the bridge to contemporaneous journalistic writings. The research approach consists in the
analysis and classification of selected texts the
object under investigation usualy qualified as chronicles by literature experts. However, the relevance of a remarkable journalistic style is found in João do Rio s writings. The chapters of this dissertation add on each other leading to place his writings in the cathegory of chroniclereportage, the concept that motivated the research developed. The investigation encompasses: the writer biography and the background literature influencing him; the historical, social and economical context existing during the first decade of the 20th century, a period during which had appeared a number of writings that contributed to the framing of the interwining components of the journalistic and the literature styles. The flânerie incorporated by João do Rio in his texts and the outcomes of this practice on his writings are analysed in the present dissertation. Furthermore, comments on the stilistics were added demonstrating that the flanêur was not present in the environment he described. The evolution and definitions related to chronicle and reportage are addressed as demanded by the the coexistence of both
styles in João do Rio s writings. In addition, the contextual and conceptual components described are step by step followed by a detailed analisys of the investigated object.A pesquisa João do Rio: o repórter com alma de flâneur conduz a crônicareportagem na Belle Époque tropical tem como objeto alguns escritos que integram a obra A Alma Encantadora das Ruas (1908), de João do Rio. O objetivo do trabalho é discorrer sobre a problemática do gênero que envolve esses textos, visando demonstrar que se situam numa posição intermediária, de transição, entre as colaborações estritamente literárias e as especificamente jornalísticas, sendo João do Rio a ponte para o estabelecimento da reportagem contemporânea. A pesquisa se baseia na análise e classificação dos textos que compõem o objeto, os quais, usualmente, são categorizados como crônicas pelos críticos literários. É notória, entretanto, a relevância do discurso jornalístico nos textos de João do Rio. Os capítulos deste estudo acabam então por convergir no sentido de inserir os escritos na categoria de crônicareportagem, conceito que move esta pesquisa. O trabalho abarca, primeiramente, a biografia do escritor e suas influências literárias. A pesquisa perpassa o contexto histórico, social e econômico da primeira década do século vinte, período que contribuiu para a tessitura de textos que mesclam elementos literários e jornalísticos. A flânerie a que adere João do Rio e o desdobramento dessa prática na sua escrita são aqui analisadas. Ao mesmo tempo são feitas algumas considerações estilísticas que asseveram o não pertencimento do flanêur ao espaço que retrata. A evolução e definições da crônica e da reportagem são desenvolvidos no trabalho pelo fato dos textos de João do Rio estarem inseridos numa categoria que conjuga ambos os gêneros: a crônicareportagem. Além dos elementos contextuais e conceituais, o estudo é entremeado por análises detalhadas do objeto.
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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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Cardone, Dominich Pereira. "João do Rio e o olhar do cronista flâneur sobre a cidade : abordagens dialógicas em perspectivas benjaminianas." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/17025.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014.Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-11-24T18:00:55Z No. of bitstreams: 1 2014_DominichPereiraCardone.pdf: 1059897 bytes, checksum: 49333b95cee819d1145306f47a42e467 (MD5)
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A obra de João do Rio tem como traço fundamental a relação híbrida, e por vezes controversa, entre literatura e jornalismo. Dialogando com os limites propostos pela crônica e a reportagem, temas variados ligados ao imaginário da cidade múltipla e provisória são recorrentes em seus textos, o que revela uma aguda consciência crítica indicadora da modernidade de sua literatura. Esta característica nos aponta, assim, para um diálogo com Walter Benjamin no que tange à questão da técnica atrelada ao olhar imposto como elemento sensível na leitura e interpretação da metáfora da literatura enquanto experiência urbana. Portanto, nesta dissertação de mestrado propomos uma abordagem benjaminiana que permita uma reflexão mais profunda acerca da obra do escritor carioca. Adotando uma proposta de análise polifônica e dialógica, segundo o pensamento de Mikhail Bakhtin, iremos analisar A alma encantadora das ruas (1908), Cinematógrapho (1909) e Pall-Mall Rio (1917), com vistas a determinar em que medida João do Rio, através da técnica literária empregada em sua obra, intimamente ligada ao ideário estético da flânerie, consegue ler as duas cidades contidas no Rio de Janeiro finissecular, bem como o homem moderno entremeado em seu âmago. ____________________________________________________________________________________ ABSTRACT
João do Rio's work has the hybrid, and sometimes controversial, relationship between literature and journalism as primal trait. Dialoguing with the limits proposed by chronic and report, several topics related to the imaginary of the multiple and transitory city recur in his writings, which reveals an acute critical awareness indicator of the modernity of his literature. This feature points out, so far, a dialogue with Walter Benjamin regarding the issue of the technics tied to the look as a sensitive element in the reading and interpretation of literature as a metaphor of urban experience. Therefore, in this dissertation we propose a Benjaminian approach allowing a deeper reflection on João do Rio‘s work. Adopting a polyphonic and dialogical proposal for analysis, according to the thinking of Mikhail Bakhtin, we will examine João do Rio‘s A alma encantadora das ruas (1908 ) , Cinematógrapho (1909 ) and Pall - Mall Rio (1917 ), aiming to determine to what extent João do Rio, through the literary technique employed in his work, closely linked to the aesthetic ideals of dawdling, could read the two cities contained in the fin-de-siècle Rio de Janeiro, as well as the modern man streaky at its core.
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Gill, Patrick W. "The Expatriate Experience, Self Construction, and the Flâneur in William Carlos Williams’ A Voyage to Pagany." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182745707.
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Correia, Donny. "Representações estéticas da metrópole no cinema de autor dos anos 1920." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-27042015-163445/.
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O cinema é um meio de reprodução mecânica da imagem surgido no final do século XIX, na Europa, numa época em que a sociedade e a cultura experimentavam a chegada da modernidade. Sua presença corroborou para a crise da arte pictórica e seu mecanismo de apreensão da realidade foi apropriado pelos artistas das vanguardas de ruptura, em especial os dadaístas, que passaram a utilizar o filme experimental para refletirem e criticarem seu tempo. Muitos dos artistas envolvidos com as vanguardas voltaram-se para a realização de filmes que enfocavam a metrópole e suas contradições na vida e nos costumes de seus habitantes. Este trabalho pretende partir deste ponto, quando o cinema de vanguarda se torna uma ferramenta de documentação histórica e social, procurando, como objetivo, observar a presença da metrópole nos filmes autorais realizados no início do século XX, bem como a presença de seus habitantes, buscando compreender quais procedimentos estéticos e ideológicos permeiam tais obras a partir do uso inventivo da câmera, num momento em que o cinema demonstra clara diferenciação entre a mera narração de entretenimento, e a arte como crítica e reflexão. Neste trabalho serão analisados os filmes Rien que les heures (1926), de Alberto Cavalcanti; e Berlim, sinfonia da grande cidade (1928), de Walter Ruttmann, e comparados com as produções brasileiras São Paulo, a sinfonia da metrópole (1929), de Rudolf Rex Lustig e Adalberto Kemeny; e Fragmentos da vida (1929), de José Medina. A intenção é compreender suas realizações dentro da realidade social, poética e estética de seu tempo, observar a presença da figura do flâneur em contraponto com o homem-da-multidão, e estabelecer paralelos entre os filmes europeus e os brasileiros, aqui abordados.The cinema is a means of mechanical reproduction of image emerged in the late nineteenth century in Europe, a time when society and culture experienced the arrival of modernity. Its presence corroborated to the crisis of pictorial art and its mechanism of apprehending reality was appropriated by artists of the vanguards of rupture, especially the Dadaists, who started using the experimental film to reflect and criticize their time. Many of the artists involved with the avant-garde turned to the production of films that focused on the metropolis and its contradictions in the life and habits of its inhabitants. This work intends to start from this point, when the avant-garde cinema becomes a tool of social and historical documentation, and seeks to observe the presence of the metropolis in films made in the early twentieth century, as well as the presence of its inhabitants, so to understand what aesthetic and ideological procedures permeate these inventive works, at a time when film shows clear differentiation between mere narration for entertainment, and art criticism and reflection. This reseach will analyze the films Rien que les heures (1926), by Alberto Cavalcanti; and Berlin, symphony of the great city (1928), by Walter Ruttmann, and will compare them with Brazilian productions São Paulo, sinfonia da metrópole (1929), by Rudolf Rex Lustig and Adalberto Kemeny; and Fragmentos da vida (1929), by José Medina. The intention is to understand their accomplishments within the social, aesthetic and poetic reality of their time, observe the presence of the figure of the flâneur as opposed to the manof- the-crowd, and draw parallels between European and Brazilian addressed movies here.
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Fernandes, Fábio. "A Alma Encantadora do Beco ou as crônicas do errante vagabundo." Instituto de Humanidades, Artes e Ciências, 2014. http://repositorio.ufba.br/ri/handle/ri/15831.
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Leituras-emendas, escrita-performance, narrativas descontínuas, em fluxos. O presente trabalho se apresenta como uma narrativa, uma pesquisa em que a experimentação na escrita pretende explicitamente questionar e “desfazer” algumas normas que regem os modelos acadêmicos. Este texto é também uma performance, portanto, propositadamente artificial e encenada, protagonizada por um narrador que, além de questionar o lócus do pesquisador, acaba por realizar uma crítica à noção de sujeito ontológico, de ciência cartesiana. Em consonância com essa proposta, minha pesquisa-narrativa se debruça sobre um espetáculo artístico-cultural de rua, em Salvador (Beco da OFF, Barra), protagonizado por uma artista transformista da cidade de Salvador, Valerie O’harah: uma mistura de sofisticação, exagero, humor, magia. Lanço também um olhar sobre a noite soteropolitana e aqueles que circulam por ruas, becos e vielas, uma urbe cheia de contradições, encantos e conflitos. A persona a ser encarnada como narrador será a do flâneur, vagabundo e errante urbano relido pela poética baudelairiana e experenciada por João do Rio, Walter Benjamin, entre outros. Esse errante urbano se perde pela metrópole, entre os fluxos e devires dos encontros e possibilidades de uma noite quente e imprevisível: por um instante e um descuido, ele se depara e se encanta com o espetáculo e o contempla. Seria esse narrador uma drag de mim mesmo? Conseguiria, de fato, escapar das normas que incidem através e na linguagem? Portanto, em que medida subvertê-la seria uma política? A personagem protagonista desta minha narrativa não é o simulacro de algum ideário de modernidade burguesa das sociedades contemporâneas, pelo contrário. O errante urbano que se mistura a essa Soterópolis tem como local de fala a abjeção, a lama: ele é o Exu, o “bicho solto”, a bicha latino-americana inconforme que questiona a si, o mundo e as leis que o regem, mas pensando e experenciando a si e o local onde são produzidas as suas errâncias... com as suas cores, ritmos, tons, rasuras, peculiaridades. O meu encontro com Valerie e essa noite quente e arriscada é uma experiência de choque, de alteridade radical alimentada por desejos, estranhamentos, embriaguez e sensibilidades. Identidades que se fragmentam e também se complementam na multidão misteriosa e soturna da cidade de Salvador.
Emendation reading, performance writing, discontinuous narratives, all in flows. The present dissertation presents itself as a narrative, a research in which experimentation in writing intends deliberately to question and undo some of the norms that rule academic writing. This text is also a performance, therefore, purposely artificial and contrived, starring a narrator who, besides questioning the locus of the researcher, ends up actually criticizing the notion of ontological subject of Cartesian science. Consistent with this proposal, my narrative research focuses on a street artistic-cultural spectacle that takes place on the OFF Alley, Barra, Salvador, Brazil, led by a transformist artist named Valerie O'harah: a mixture of sophistication , exaggeration, humor and magic. I also haul a glance at the Soteropolitan night and those who wander through its streets and alleys, a metropolis full of contradiction, enchantment and conflicts. The persona being incarnated as the narrator is the flâneur, a wandering vagabond reread from Baudelairian poetry as experienced by João do Rio, Walter Benjamin, among others. This urban wanderer loses himself in the metropolis amongst flows and becomings of an exciting and unpredictable night: in a moment of carelessness, he stumbles upon the spectacle and becomes mesmerized. Could this narrator be a drag of myself? Could he actually escape from the norms that rule through language and language itself? To what extent its subversion can be politics? The main character of this narrative is not a simulacrum of some modern bourgeoisie ideal of contemporary societies. On the contrary, he has as his place of speech the mud of abjection: he is the Exu, a signal of nonconformity, the Latin-American queer who questions himself, the world and the norms that rule it, experiencing himself and the places where its wanderings take place with their colors, rhythms, tones, erasures, peculiarities. My meeting with Valerie on that hot and risky night is an experience of shock, a radical otherness fueled by desires, estrangements, drunkenness and sensitivities. Identities are fragment and also complement themselves in the mysterious and gloomy crowd of the city of Salvador.
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Mostafa, D. S. "Re-Cycling the Flâneur : The Image of the Narrator in Three Postcolonial Novels on the Cities of Cairo, Karachi, and Beirut." Thesis, University of Manchester, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502113.
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Berg, Karin. "Roaming the streets : A comparative study of the theme of the flâneur in the novels Catcher in the Rye and Ghost World." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33307.
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Diaz, Velez Olga Lucia. "Caminando Pampachulla : construcción de lugar en una comunidad rural de los Andes sur del Perú a través del método de la cámara-flâneur." Master's thesis, Pontificia Universidad Católica del Perú, 2018. http://tesis.pucp.edu.pe/repositorio/handle/123456789/10267.
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Esta investigación parte de la exploración sobre la construcción de lugar a través
de la experiencia y las dinámicas cotidianas en la comunidad campesina de
Pampachulla, ubicada en la zona rural de los Andes sur del Perú. Considerando
aspectos individuales y colectivos, humanos y no humanos, materiales e
inmateriales dentro del entorno natural, se han identificado seis caminos dentro de
la investigación a partir de los cuales se construye lugar en la comunidad: el
camino de Estalin, el camino de Ruti, el camino de Blanco el perro, el camino del
agua, el camino del atierra y el camino de los eucaliptos. La aproximación
metodológica para la investigación se estructuró a partir de la propuesta de la
cámara-flâneur, la cual surge a partir de la exploración inicial en el campo y propone la implementación de tres procesos o “formas de hacer” simultáneos y dependientes, dentro de la etnografía: caminar, conectar y grabar. Siguiendo esto, se buscó documentar y evocar la experiencia de caminar con cámara a través de la elaboración de un producto fílmico explorativo; con la finalidad de proponer formas alternativas de investigación sobre el espacio rural y la construcción de lugar, que experimenten con métodos de la etnografía visual.Tesis
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Ngara, Kudzayi Munyaradzi. "Imagining and imaging the city – Ivan Vladislavić and the postcolonial metropolis." University of Western Cape, 2011. http://hdl.handle.net/11394/3353.
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Philosophiae Doctor - PhDThis thesis undertakes an analysis of how six published works by the South African writer Ivan Vladislavić form the perspective of writing the city – Johannesburg – into being. Beginning from the basis that Vladislavić’s writing constitutes what I have coined dialogic postcolonialism, the thesis engages with both broader contemporary urban and postcolonial theory in order to show the liminal imaginative space that the author occupies in his narrations of Johannesburg. Underlining the notion of postcolonialism being a “work in progress” my thesis problematises the issue of representation of the postcolonial city through different aspects like space, urbanity, identity and the self, and thus locates each of the texts under consideration at a particular locus in Vladislavić’s representational continuum of the continually transforming city of Johannesburg. Until the recent appearance of Mariginal Spaces – Reading Vladislavić (2011) the extant critical literature and research on the writing of Ivan Vladislavić has, as far as I can tell, not engaged with his work as a body of creative consideration and close analysis of the city of Johannesburg. Even this latest text largely consists of previously published reviews and articles by disparate critics and academics. The trend has therefore largely been to analyse the texts separately, without treating them as the building blocks to an ongoing and perhaps unending project of imaginatively bringing the city into being. Such readings have thus been unable to decipher and characterise the threads which have emerged over the period of the writer’s literary engagement with and representation of Johannesburg. I suggest that, as individual texts and as a collection or body of work, Ivan Vladislavić’s Missing Persons (1989), The Folly (1993), Propaganda by Monuments and Other Stories (1996), The Restless Supermarket (2006 – first published in 2001), The Exploded View (2004) and Portrait with Keys: Joburg & what-what (2006), are engaged in framing representations of the postcolonial city, representations which can in my view best be analysed through the prism of deconstructive engagement. To this end, the thesis examines contemporary South African urbanity or the post-apartheid metropolitan space (as epitomised by the fictive Johannesburg) and how it is represented in literature as changing, and in the process of becoming. As a consequence, the main conclusion I arrive at is on how the irresolvable nature of the city is reflected in the totality of Ivan Vladislavić’s writing. In that way, it was possible to treat every text in its own right (rather than forcing it to conform to an overarching thesis). This central insight allowed for the effective application of urban theory to the close readings of the texts.
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Matysová, Kristýna. "Écrire le monde en marchant. Une approche de la modernité en Bohême et en France du début du XIXe siècle aux années 1940." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040054.
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Dans les récits allégoriques chrétiens, le pèlerin est une figure symbolique représentant le parcours de l’Homme vers le Paradis. À partir de la seconde moitié du XIXe siècle, les poètes, promeneurs et flâneurs poursuivent la quête d’un au-delà entre les murs des grandes villes. La présente thèse examine les cas de figures des flâneries modernes. En étudiant des textes qui mettent en scène le thème de la marche, ce travail propose une analyse chronologique des approches de la Modernité dans la littérature et dans les arts français et tchèques du début du XIXe siècle aux années 1940. En étudiant les motifs constituants des récits de promenades modernes et le rôle du contexte historique et social de leur création, cette thèse apporte une contribution à la réflexion sur les parallèles culturels entre la France et la Bohême. En outre, elle livre une analyse de divers genres littéraires nés de la nécessité de l’Homme d’écrire le monde en marchantIn Christian allegoric texts the Pilgrim traditionally symbolizes the journey of mankind to heaven. From the second half of the 19th century on, poets, travelers, and vagabonds pursued the quest of an afterlife from within city walls. This dissertation examines the different representations of modern wandering via an in-depth analysis of the theme as encountered in French and Czech literature and arts from the early 19th century to the 1940's. It reveals, in chronological order, the different artistic approaches to modernity. By bringing out the various patterns that emerge from the texts, while taking into account the historical and social contexts in which they were created, this work adds to existing knowledge on the cultural similarities between France and Bohemia. It also examines the different literary genres which originate from mankind’s need to walk and write the world
V krestanských alegorických textech je poutník symbolickou postavou na ceste do Ráje.Od druhé poloviny devatenáctého století básníci, chodci a flânéri, se pokoušejí odhalitskrytou tvár reality na ulicích velkomest. Tato disertacní práce analyzuje podobymoderního poutnictví. Chronologicky razené rozbory del, týkajících se tématu chuze,sledují vývoj tvurcích postoju k modernímu svetu ve francouzské a ceské literature avýtvarném umení od zacátku devatenáctého století do konce ctyricátých let stoletídvacátého. Studiem dílcích motivu moderních poutnických textu, zasazenýchdo historického a sociálního kontextu doby jejich vzniku, tato práce prispívá k prohloubenípoznatku o kulturních paralelách mezi Francií a Cechami. Navíc tato disertace zkoumározlicné literární žánry, pro než byla prvotním impulsem potreba autora jít a psát
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Damerham, Oscar. "Wrong Side of the Ridge: Charting the Urban Fabric of the Countryside." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22372.
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Echoing through the lecture theatres, conference halls and pages of the contemporary Urban Studies discourse is the oft-repeated refrain that today over half the world’s population live in urban areas, and that by 2050 this proportion is expected to be upwards of 70%. The place of the leftover 50% of people inhabiting a vast and seemingly forgotten 98% of the planet’s rural territory is externalised, apparently lying outside the purview of marching urbanisation. Yet the theory of ‘Planetary Urbanisation’ has emerged in recent years positing a contentious epistemological questioning of Urban Studies’ focus sites, objects and processes. In this it argues for a reorientation of the field towards the ignored rural hinterlands of ‘extended urbanity’ falling under the influence of the fluid process of urbanisation which is transforming the countryside through processes of rationalisation, functionalisation and disintegration. Critiqued as overly abstract, empirically shallow and puritanically ignoring form, this paper investigates and experiments with the theory of planetary urbanisation in a grounded study of a corridor of the Swedish countryside and the village of Röstånga. It does so by a concrete, detailed and dualistic approach to sites of extended urbanisation, integrating both form and process in its analysis. This research exercises this analysis through extricating the city-bound flâneur out into the non-city through a phenomenological 60km, 2 day walk from the city of Malmö to Röstånga. Arriving in Röstånga, this paper then turns its attention to multiple, triangulated methodologies of mapping, observations and interviewing in order to bind our flâneur reflections to the built environment of rurality. In doing so, this research details a changing spatial and social landscape of the Skåne countryside and the village of Röstånga with results exposing an urbanised rurality of hybridity, control and decay and a village of operationalised suburbia, of an externally orientated centre and of disparate social innovations. A discussion of these results then exposes a rural realm simultaneously surrendering to its new reality of extended urbanity and desperately searching for meaning and purpose within it; a landscape wilting under what this paper terms as the shadow of post-political urbanisation. This research than calls for ‘politics of the possible’ in a re-politicisation of the rural and concludes by challenging planners, architects and governments to re-imagine alternatives for this vital if forgotten space.
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Eldridge, Jeremy. "Investigation of The Home, a Metaphor for Belonging." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5630.
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The written portion of this investigation gathers materials and information that deals with the conception of the family unit and the house that is literally, and metaphorically, utilized in the notion of home. This focus on the structure as a metaphor for home has further reaching implications than the structure itself. Findings show that a Western view of community and belonging is rooted in a place of stability in one's community. The basis for personal growth within that community has a direct impact on an individual's development in it. (Goldburgh, 67) The fractured nature of my experience and emotions tied with the notions of home, are expressed through both A Home Divided and the Chez Moi series photographic series. Within this investigation there are references to the artist's memories and experiences that are in contrast and discord with the traditional concept of acceptance and belonging.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
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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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Kamoun, Sélima. "Apollinaire et Paris : de la ville vécue à la ville phantasmée." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA008.
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La rencontre de Guillaume Apollinaire avec Paris a été déterminante dans la vie du poète, tant sur le plan intellectuel qu'existentiel. Dans son œuvre où elle occupe une place de choix, la capitale française ne représente pas seulement un lieu de vie mais une source d'inspiration et d'écriture extrêmement féconde. Bien qu’héritée de toute une tradition littéraire de la ville qui s’est développée au XIXe siècle, la poésie apollinarienne de Paris est conçue sur le mode de l’« esprit nouveau » qui accompagne la naissance d’une ère placée sous le signe de la découverte et du progrès, et s’intègre aux recherches esthétiques des avant-gardes artistiques et littéraires caractérisées par l’audace et le goût de l’aventure. Entre tradition et invention, le Paris d’Apollinaire n’est pas seulement celui du « Pont Mirabeau » et de « Lettre-Océan » qui, d’Alcools à Calligrammes, témoigne d’une volonté de s’affranchir de certains « modèles » et de créer une poésie libre de toutes contraintes qui dit le « réel » en empruntant les voies de l’imaginaire, c’est aussi la capitale fascinée de l’infatigable « flâneur des deux rives », ou insolite et secrète du guide passionné ; c’est encore la ville subjective et mentale du « guetteur mélancolique » confronté à son passé douloureux, ou aux prises avec le monde moderne ; c’est, enfin, la ville rêvée et phantasmée de « l’enchanteur » des ponts et des noms de ParisGuillaume Apollinaire's encounter with Paris was a decisive event in the poet's life, both intellectually and existentially. In his artwork where Paris occupies a place of choice, the French capital does not only represent a place of life but a source of inspiration and extremely fertile writing. Although inherited from an entire literary tradition of the city that developed in the nineteenth century, Parisian apollinarian poetry is conceived on the mode of the "new spirit" that accompanies the birth of an era under the sign discovery and progress, and integrates with the aesthetic research of artistic and literary avant-gardes characterized by daring and the taste of adventure. Between tradition and invention, the Paris of Apollinaire is not only that of the "Mirabeau Bridge" and "Letter-Ocean" which, from Alcools to Calligrammes, demonstrates a desire to get rid of certain "models" and to create a poetry free of all constraints that says the "real" by borrowing the ways of the imaginary. Paris is moreover the fascinating capital of the tireless "stroller of both banks", or of the unusual, surreptitious and passionate guide; It is also the biased and cerebral city of the "melancholy watchman" confronted with his painful past, or grappling with the modern world. Paris is, finally, the dreamed and phantasmatized city of the "charmer" of the bridges and of the names of Paris
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Rock, Brian. "Irish nationalism and postcolonial modernity : the 'minor' literature and authorial selves of Brian O'Nolan." Thesis, University of Stirling, 2010. http://hdl.handle.net/1893/2495.
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In the immediate post-independence period, forms of state-sponsored Irish nationalism were pre-occupied with exclusive cultural markers based on the Irish language, mythology and folk traditions. Because of this, a postcolonial examination of how such nationalist forms of identity were fetishised is necessary in order to critique the continuing process of decolonization in Ireland. This dissertation investigates Brian O’Nolan’s engagement with dominant colonial and nationalist literary discourses in his fiction and journalism. Deleuze and Guattari define a ‘minor’ writer’s role as one which deterritorializes major languages in order to negotiate textual spaces which question the assumptions of dominant groups. Considering this concept has been applied to postcolonial studies due to the theorists’ linguistic and political concerns, this dissertation explores the ‘minor’ literary practice of Brian O’Nolan’s authorial personae and writing techniques. Through the employment of Deleuze and Guattari’s concept of the deterritorialization of language alongside Walter Benjamin’s models of the flâneur and translation, and Claude Lévi-Strauss’s concept of bricolage, this thesis examines the complex forms of postcolonial narrative agency and discursive political resistance in O’Nolan’s work. While O’Nolan is often read in biographical terms or within the frameworks of literary modernism and postmodernism, this thesis aims to demonstrate the politically ambivalent nature of his writing through his creation of liminal authorial selves and heterogeneous narrative forms. As a bi-lingual author, O’Nolan is linguistically ‘in-between’ languages and, because of this, he deterritorializes both historical and literary associations of the Irish and English languages to produce parodic and comic versions of national and linguistic identity. His satiric novel An Béal Bocht exposes, through his use of an array of materials, how Irish folk and peasant culture have been fetishized within colonial and nationalist frameworks. In order to avoid such restricting forms of identity, O’Nolan positions his own authorial self within a multitude of pseudonyms which refuse a clear, assimilable subjectivity and political position. Because of this, O’Nolan’s authorial voice in his journalism is read as an allusive flâneur figure. Equally, O’Nolan deterritorializes Irish mythology in At Swim-Two-Birds as a form of palimpsestic translation and rhizomatic re-mapping of a number of literary traditions which reflect the Irish nation while in The Third Policeman O’Nolan deconstructs notions of empirical subjectivity and academic and scientific epistemological knowledge. This results in an infinite form of fantastical writing which exposes the limited codes of Irish national culture and identity without reterritorializing such identities. Because O’Nolan’s ‘minor’ literary challenge is reflective of the on-going crisis of Ireland’s incomplete decolonization, this thesis employs the concept of ‘minor’ literature to read Ireland’s historical past and contemporary modernity through O’Nolan’s multi-voiced and layered narratives.
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Evans, Michaela Skye. "The elusive clean machine : rational order and play in a public railway." University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0106.
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[Truncated abstract] Rational order and play are often conceptualised as oppositional forces. In modern urban life especially, rational order is presented as destructive of a playful orientation towards life eschewing mystery through coherence, spontaneity through predictability, and contingency through systematic planning. In turn, the postmodern debate often asserts the reinvigoration of free, playful, and contingent individuals whose collective acts are destructive of the rationality of modern order with the present, in contrast to the past, offering a condition of enduring and unremitting uncertainty. This thesis explores the dynamic relation between rational order and play in urban society through an ethnographic account of a public commuter railway in Perth, Western Australia. Notwithstanding this ethnographic setting, the thesis addresses questions of broader significance through an analysis of the railway as an instance of public space and state techno-bureaucratic order. I investigate the creative process through which the state attempts to standardise the various operational components of the railway as well as the reasons underpinning the state's desire to produce what I term a 'clean machine'. In turn, I investigate how differentially positioned actors live within this carefully crafted machine. I do so by following the stories, experiences, and practices of: government administrators charged with building the railway; the managers who oversee the network's operation; the staff members who operate trains, clean stations, and discipline passengers; and the railway's end-users, including passengers and graffiti artists. ... In examining the two tensions of rational order/play and revelation/ concealment, I attempt to explicate how it is that people experience life as simultaneously coherent and serendipitous. In the thesis, I document the ways in which railway officials, passengers, and graffiti artists express a pervasive ambivalence towards their experience of the railway system. On the one hand, these actors experience the railway as a system of constraint that produces 'robotic' behaviours and automated transactions. On the other, they see the railway as a liberating space that enables autonomous expression and spontaneous interaction. By examining these contending experiences and associated sentiments, I highlight the railway as a stimulating site within which to explore the meaning and significance of urban modernity. Lastly, this thesis contributes to debate on the challenges posed by the character of contemporary social processes to anthropological research methodology. I illustrate the utility of such methods as written and photographic diaries as well as mental-mapping exercises, but primarily advocate the documentary and analytical advantages of participant observation in a mobile field-site. I assert that while participant observation poses a number of personal and professional challenges in this setting, these challenges uncover the stimulating complexity of contemporary urban life. To this end, I contest emergent academic commentary that propounds the destabilisation of anthropological techniques in what is frequently described as an equally destabilised world.
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Santos, Júlio de Souza. "Geografia comunitária e educação de jovens e adultos : os educadores flâneurs sem terra do Assentamento Paulo César Vinha – Conceição da Barra/ES." reponame:Repositório Institucional da UFES, 2015. http://repositorio.ufes.br/handle/10/1676.
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O ano de 2015 é um marco histórico dos 30 anos do fim da Ditadura Militar no Brasil. Comemoram-se também os 30 anos do Movimento dos Trabalhadores Rurais Sem Terra (MST) no Estado do Espírito Santo. Nesse contexto, o presente estudo tem como objetivo problematizar as conexões entre as experiências geográficas de formação de educadores de jovens e adultos sem terra do Assentamento Paulo César Vinha, vividas com os territórios do campo, da “roça”, da “rua” e da cidade, e suas práxis nos territórios da Reforma Agrária. Tendo como referência as categorias de Experiência, Narrativa, Memória, Lembrança Encobridora e Práxis, nas perspectivas de Walter Benjamin, Sánchez Vázquez, Paulo Freire, Milton Santos, Edward Thompson, Eric Dardel, Sigmund Freud, entre outros, a pesquisa foi realizada com oito educadores sem terra que atuam na Modalidade da Educação de Jovens e Adultos (EJA) da Escola Córrego do Cedro, no Assentamento Paulo César Vinha, que possui vinculação com o MST e está localizado no município de Conceição da Barra, Território Norte do Espírito Santo. Para tanto, o estudo se beneficiou da Observação Participante, na perspectiva dialético-materialista. No processo investigativo, constatou-se que as experiências geográficas de alienação, de negação, de inconformismo e de idealização dos educadores sem terra são unificadas e transformadas nas práxis do MST, configurando-se como experiências geográficas das práxis nas perspectivas de recriar e (re)experienciar as Geografias Comunitárias Camponesas Sem Terra habitacional, econômica, educacional, religiosa, do lazer e da saúde. Dessa forma, os educadores transformam a si mesmos nessa experiência geográfica inconformista de recriação das geografias alienadas, perdidas ou idealizadas. A pesquisa apontou também para a possibilidade de superação das concepções e práticas restritas de formação inicial e formação continuada na Educação de Jovens e Adultos do campo e da cidade, por meio da constituição da formação comunitária, que não apenas considera e valoriza as experiências de educadores, mas que também concebe a sua transformação nas práxis, voltando-se para o atendimento aos anseios, demandas e interesses dos sujeitos da EJA na ótica da Educação Popular.
L'année 2015 est un point de repère du 30e anniversaire de la fin de la Dictature Militaire au Brésil. Ils célèbrent aussi le 30e anniversaire du Mouvement des Travailleurs Ruraux Sans Terre (MST) dans l'État de L´Espírito Santo. Dans ce contexte, l'objectif de la présente recherche consiste à problématiser les connexions entre les expériences géographiques de la formation des éducateurs de jeunes et des adultes sans terre de l´Assentamento Paulo César Vinha, qu' ont été vécues avec des territoires du champ, la “ferme”, la “rue” et ville, et sa praxis dans les territoires de la réforme agraire. Parmi les catégories d'expérience, la narratif, la mémoire, le souvenir écran et la Praxis, les perspectives de Walter Benjamin, Sánchez Vázquez, Paulo Freire, Milton Santos, Edward Thompson, Eric Dardel, Sigmund Freud, entre autres, la recherche a été menée avec huit éducateurs sans terre qui travaillent dans la L´Éducation des Jeunes et des Adultes (EJA) de l´école Córrego do Cedro, dans la Communauté de l´Assentamento Paulo César Vinha, qui est lié avec le MST et est située dans la municipalité de Conceição da Barra, Territoire Nord du Espírito Santo. Par conséquent, l'étude a bénéficié de l'observation participante, dans la perspective dialectique matérialiste. Dans le processus d'enquête, il a été constaté que les expériences collectives géographiques de l'aliénation, déni, de non-conformité et de l'idéalisation des éducateurs sans terre sont unifiés et transformé dans les práxis du MST, devenant comme des expériences géographiques de la praxis des points de vue de (re)créer et (re)découvrir les Géographies Paysan Communautaires Sans Terre de l´habitation, économique, éducatif, religieuse, les loisirs et la santé; ainsi, les éducateurs se transforment. La recherche a également souligné la possibilité de surmonter les conceptions et pratiques de formation initiale limitées de la formation continue pour l´Éducation des Jeunes et des Adultes dans la campagne et la ville, à travers le renforcement de la formation de la communauté qui non seulement examine et évalue les expériences des éducateurs, mais qui conçoit sa transformation dans la praxis, se tournant pour répondre aux souhaits et les intérêts des sujets de l´Éducation des Jeunes et des Adultes dans la perspective de l'éducation populaire.
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SANTOS, J. S. "GEOGRAFIA Comunitária e Educação de Jovens e Adultos: Os Educadores Flâneurs Sem Terra do Assentamento Paulo César Vinha - Conceição da Barra/es." Universidade Federal do Espírito Santo, 2015. http://repositorio.ufes.br/handle/10/2240.
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Previous issue date: 2015-08-13O ano de 2015 é um marco histórico dos 30 anos do fim da Ditadura Militar no Brasil. Comemoram-se também os 30 anos do Movimento dos Trabalhadores Rurais Sem Terra (MST) no Estado do Espírito Santo. Nesse contexto, o presente estudo tem como objetivo problematizar as conexões entre as experiências geográficas de formação de educadores de jovens e adultos sem terra do Assentamento Paulo César Vinha, vividas com os territórios do campo, da roça, da rua e da cidade, e suas práxis nos territórios da Reforma Agrária. Tendo como referência as categorias de Experiência, Narrativa, Memória, Lembrança Encobridora e Práxis, nas perspectivas de Walter Benjamin, Sánchez Vázquez, Paulo Freire, Milton Santos, Edward Thompson, Eric Dardel, Sigmund Freud, entre outros, a pesquisa foi realizada com oito educadores sem terra que atuam na Modalidade da Educação de Jovens e Adultos (EJA) da Escola Córrego do Cedro, no Assentamento Paulo César Vinha, que possui vinculação com o MST e está localizado no município de Conceição da Barra, Território Norte do Espírito Santo. Para tanto, o estudo se beneficiou da Observação Participante, na perspectiva dialético-materialista. No processo investigativo, constatou-se que as experiências geográficas de alienação, de negação, de inconformismo e de idealização dos educadores sem terra são unificadas e transformadas nas práxis do MST, configurando-se como experiências geográficas das práxis nas perspectivas de recriar e (re)experienciar as Geografias Comunitárias Camponesas Sem Terra habitacional, econômica, educacional, religiosa, do lazer e da saúde. Dessa forma, os educadores transformam a si mesmos nessa experiência geográfica inconformista de recriação das geografias alienadas, perdidas ou idealizadas. A pesquisa apontou também para a possibilidade de superação das concepções e práticas restritas de formação inicial e formação continuada na Educação de Jovens e Adultos do campo e da cidade, por meio da constituição da formação comunitária, que não apenas considera e valoriza as experiências de educadores, mas que também concebe a sua transformação nas práxis, voltando-se para o atendimento aos anseios, demandas e interesses dos sujeitos da EJA na ótica da Educação Popular.
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Drouhin, Kok Julia. "L'oeuvre de la marche : créer dans les pas d'artistes flâneurs : éléments théoriques pour une cartographie sonore et mouvante d'espaces d'ambulation en expansion." Paris 8, 2011. http://octaviana.fr/document/165270365#?c=0&m=0&s=0&cv=0.
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Intitulée L’oeuvre de la marche : créer dans les pas d’artistes flâneurs - Éléments théoriques pour une cartographie sonore et mouvante des espaces d’ambulation en expansion, notre recherche propose d’interroger la fécondité potentielle de pratiques artistiques plasticiennes qui font du corps actif en marche, l’élément moteur d’espaces de créations transversales à parcourir. Il s’agit d’examiner les enjeux théoriques de ces « dé-marches » artistiques, la marche constituant par excellence un mode de déplacement réputé pour sa lenteur, à une époque où la société impose un rythme accéléré et une occupation effervescente des territoires qui vont à l’encontre de telles pratiques. Notre recherche théorique s’adosse pour ce faire, à notre production artistique personnelle, et un travail de terrain nourri par des entretiens avec nombre d’artistes qui placent le déplacement au cœur de leur création. Selon nous, la représentation élaborée par nos sociétés occidentales concernant l'espace dans lequel nous évoluons a été jusqu’à présent principalement rétinienne mais se révèle de plus en plus définie dans sa dimension sonore. Aussi, proposons-nous d’évaluer sous cet angle, l'intérêt plastique de multiples espaces d’ambulation à travers des thématiques développées par l'acte créatif de la marche : créations paysagères, urbaines, mobiles, en réseaux, en archipels, ou constellations. Notre propos consiste à examiner les paysages dans leur dimension plastique sonore et visuelle et l’usage qu’en font les artistes, témoins sensibles d’une ère de la mobilité, pour construire un devenir des espaces d’ambulation sous forme d’utopies mobilesEntitled The art of walking, creating in the footsteps of artist wanderers - Theoretical elements for sound mapping of moving and expanding ambulation spaces, our research proposes to examine the potential fertility of the practices of visual artists who actively use the body in walking as the motor element of transversal creations that can be explored. It examines the theoretical issues of this artistic practice, walking being a mode of travel known for its slowness, at a time when society imposes an accelerated pace and effervescent occupation of territories that go against such practices. Our theoretical research is backed by a personal artistic production, supported by conversations with many artists whose movement is the heart of their creation. In our view, the representation developed by Western societies of the space in which we operate has been so far mainly visual but proves to be more and more defined through its sound dimension. Therefore, we propose to evaluate through this perspective, the interest of many areas of artistic ambulation around themes developed by the creative act of walking: creative landscape, urbanism, mobility, networks, archipelagos or constellations. Our proposal is to examine the landscapes in their sound and visual dimensions and the way they are used by artists, sensitive witnesses of an era of mobility, to build future spaces of ambulation as mobile utopias
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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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Bédard, Mélanie. "Le paysage expérientiel ou le paradigme du regard." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/26700/26700.pdf.
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Roussel-Richard, Lucie. "Les écrivaines-journalistes sous la monarchie de Juillet : la presse au service d'une reconnaissance littéraire." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMC030/document.
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La présente recherche interroge la presse de la monarchie de Juillet comme un espace de composition et d'expérimentation de la posture d'écrivaine-journaliste. Elle entreprend également d'analyser les tactiques d'acceptabilité et les stratégies d'écriture visant à la reconnaissance littéraire des femmesThe present research questions the press pf the July Monarchy as a space of composition and experimentation of the position of woman writer-journalist. It undertakes to analyse the tactics of acceptability and the strategies of writing aimed at the literary recognition of women
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Bonança, Cláudia Isabel Guerreiro. "O Flâneur." Master's thesis, 2014. http://hdl.handle.net/10400.6/6395.
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Propõem-se uma análise da dinâmica de produção do espaço urbano na medida em que esta deve ser um produto da acção humana, numa perspectiva da cidade entendida como um local de antagonismos entre a arquitectura e os corpos, local de mobilidade, de passagens e de fronteiras, de espaços símbolo, território de trocas, de consumo. Tentar-se-á encontrar o sentido destes elementos e as novas formas de pensar a cidade.
O flâneur surge como um modelo do indivíduo moderno, (Baudelaire) (Benjamin), como uma relação entre sujeito e obra na perspectiva de receptor da experiência estética (aesthesis) numa escala urbana, onde o homem contemporâneo segue o fluxo da multidão. Também posteriormente, os situacionistas estabeleceram uma cartografia da imaginação em que seriam tidos em conta os percursos do flâneur.
A observação da vida quotidiana, desses fluxos de massas humanas que são a expressão natural de uma criatividade colectiva contribuem para uma análise da arquitectura urbana onde o funcionalismo expõe o desencantamento. Para, assim, criar uma nova arquitectura das cidades do futuro, onde a compreensão da emoção, do sensualismo, pode ser a referência espacial para o desenho da cidade, acreditando na capacidade do homem mudar a sua vida em sociedade (Ramalho). Rompendo assim com a homogeneização do desenho da cidade pelas tendências de uniformização do capitalismo. Onde a necessidade de construir a cidade a grande velocidade sobrepõe qualquer pensamento sobre a experiência do espaço quando esta deveria ser mais basilar que as formas construídas. Neste projecto priorizar-se-á o estudo das formas do comportamento (Constant, New Babylon) ao invés das formas meramente racionais e funcionais.
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Linying-chun and 林盈君. "The City Flâneur." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/26821426268843491881.
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碩士國立臺北教育大學
藝術學系碩士班
96
The City Flâneur Abstract For the flâneur, what the body played was an area that revealed the experience. The flâneur felt the space of the city by real action. Therefore, the city flâneur experience was exactly to feel, to know, and to permeate by real action and body perception. In my works, I observed the city buildings. By flâneur, I integrated individual city walk experience into subjective creations. I spread my flâneur experience from the near to the distance gradually, and turned the north, midland and south building symbols diffusion into a imaginational world . I composed with rationality and perceived with sensitivity to emphasize definite, simple and sharp lines to make up a simple style and combine rational perception. In interlaced lines and pieces, my works presented rational emotion and intermitted the audience’s vision in “imaginational spiritual city” and “Modern Utopia”. Due to the randomness and haphazard of flâneur, the flaneur’s image was fractions and discontinuousness. I put all the buildings and symbols that we could see in the city together by piece and paste. I deconstructed the actual scenes and rearranged the structure to present my own city impression intuitively.
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LIN, CHUNG-WEI, and 林仲威. "Flâneur of City." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/psv4bd.
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碩士國立臺北藝術大學
美術學系碩士在職專班
107
This paper explores how the viewpoints of photography affect the manifestations of realistic painting, as well as the differences and similarities between painting and photography, where the sense of reality in realistic painting comes from, the historical significance of the goldfish in the eyes of the audience and its new interpretation in contemporary art. The audience stares at the goldfish that is the Flâneur in my writing. This paper also discusses how cities become the marketplace of lonely travelers.
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chen-yuan, hsueh, and 薛震遠. "Black Board－The Night City Flâneur." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/46388931668255793414.
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碩士國立臺北教育大學
藝術學系碩士班
96
Based on my experience of urban life, this piece of work is expressed in an illustration style on black boards with drawing of white color. To me, city flâneur is an enjoyable experience. Appreciating the city as an artwork makes me feel close and separate at the same time, just like Chu Kuang-tsien’s viewpoint of aesthetic distance, in which he sees the world in a distance, regardless of the practicality and makes it become supergoization. Illustration is used in my work on account of the urban environment has been stylized. And the most common stylized topics are comic and illustration. Illustrative productions based on illustration and comic are filling up the city, and immerge into our daily life. Therefore, I put my experience and memory into illustration, depicting the world with illustrative stylization. In addition, illustration is a “poetic imagination” of mine; that is, to “reorganize mental models”, also and “inner experience transformation”. Streetwalking and graffiti, to me, are temporary spirit separation. Streetwalking is not necessarily for shopping. Sometimes, I’m simply looking for the urban aesthetic experience. Graffiti is not for drawing, but to put my soul into a delightful space without burden. Change the mood at the moment; face the life again. Though short, it is teem with well-being. Making graffiti into a piece of artwork is not only to put my aesthetic experience into illustration, recording as a visual diary, but through style of drawing, it is the closest feeling of expressing myself. It is also the most authentic feeling deep inside my heart as if the work itself bears creations record aesthetic experience, distantly tells the display of the author’s recollection.
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Ke, Miao-ting, and 柯妙婷. "Agnès Varda's Cinécriture: Intertextuality、Flâneur、Memory Construction." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/83tujn.
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碩士國立臺南藝術大學
動畫藝術與影像美學研究所
103
This thesis is mainly about French film director Agnès Varda and her “Cine-writing” (cinécriture). Through the way of her blended-form film to comprehend the mobility of subjectivity. Researcher analyses her changing images from three aspects: intertextuality, dual vision and memory Construction. Chapter 2 focus on her work: “L'Opéra-Mouff, 1958”, “Ulysses, 1982” and “Les Glaneurs et la Glaneuse, 2000. Chapter 3 starts to discuss “Cléo de 5 à 7, 1961 ” and “Sans toit ni loi, 1985”. And chapter 4 is about “Les plages d'Agnè, 2009”. Understanding Varda’s film is like waking into a maze filled with her passion and insight. We can find out her thought and proposition within her cine-writing, and also feel her characteristic hidden beneath the humorous game. She created the work with abundant creativity and profound self-reflections. Keywords: Cine-writing (cinécriture), Agnès Varda, intertextuality, subjectivity, memory.