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Στο παρόν άρθρο σκοπός της έρευνας είναι η ανάδειξη του πολιτισμικού περιπάτου και της κινηματογράφησής του ως σημαντικού μέσου για την περιβαλλοντική ευαισθητοποίηση ατόμων κάθε ηλικίας. Η μέθοδος που επιλέχθηκε είναι η ποιοτική έρευνα με εργαλεία ημι-δομημένες συνεντεύξεις από παλαιότερους κατοίκους των Αγίων Αναργύρων αφενός και επιτόπια έρευνα με συμμετοχική παρατήρηση κατά την προσωπική περιπλάνηση στην περιοχή αφετέρου. Ο κινηματογράφος της παρατήρησης με την ενδελεχή και μακροχρόνια συμμετοχική παρατήρηση μέσα από την κάμερα ενός κινητού τηλεφώνου, πρόσφερε μεθοδολογικά εργαλεία για την κινηματογράφηση. Επίσης στην μέθοδο επιλέχθηκε η βιβλιογραφική έρευνα σχετικά με την επίδραση του αστικού χώρου στην ανθρώπινη συμπεριφορά, την «ψυχογεωγραφία» (Debord,1955), κατά την αστική περιπλάνηση (“flânerie”) και την έννοια του «πλάνητα» (Benjamin,1939). Τα συμπεράσματα της έρευνας είναι ότι η νοηματοδότηση του χώρου σαν ένα «ψυχογεωγραφικό τοπίο» (Bruno, 2011), όπου εδράζονται η συλλογική μνήμη, τα βιώματα και οι επιθυμίες των ανθρώπων, συμβάλλουν στην δημιουργία συναισθηματικών δεσμών αγάπης ανάμεσα στον κινηματογραφιστή, το περιβάλλον και τους συνανθρώπους του. Η παραπάνω αντίληψη του χώρου έχει ως αποτέλεσμα την περιβαλλοντική ευαισθητοποίηση και την ενδυνάμωση των κοινωνικών σχέσεων. Συμπερασματικά ο περιπλανώμενος κινηματογραφιστής αποκομίζει την αίσθηση επανιδιοποίησης του περιβάλλοντος δημόσιου χώρου, αντιλαμβάνεται τον εαυτό του ως μέρος του περιβάλλοντος και βιώνει έντονη συγκίνηση. Τέλος ευαισθητοποιείται σχετικά με τα ζώα που ζουν στην πόλη και προβληματίζεται για την διατήρηση φυσικών χώρων ή τόπων με έντονη ιστορική και πολιτισμική αξία., In this article, the purpose of the research is to enhance the cultural promenade and its filming as an important tool for the environmental awareness for people of any age. The method which has been followed is qualitative research by using semi-structured interviews from older citizens of Agioi Anargyroi on the one hand and by using field research with participatory observation during the personal wandering in the area on the other hand. The observational cinema, with the detailed and long-lasting participatory observation through the camera of a mobile phone, offered a methodological tool for the cinematography. Another part of methodology contains bibliographic research about the influence of urban space to the human behavior, the “psychogeography” (Debord, 1955), during wandering through the city (“flânerie”), and the meaning of “flâneur” (Benjamin, 1939). The conclusion of the research is that the perception of space as a “psychogeographical landscape” (Bruno, 2011), a place full of the collective memory, lived experiences and desires of people, contribute to the creation of emotional bonds between the cinematographer, the environment and other humans. Τhis perception of space leads to the environmental awareness and the empowerment of the social relations. Furthermore, the wanderer-cinematographer becomes the feeling of reappropriating the environmental public space, understands his self as a part of the environment and experiences strong emotions. Finally, the cinematographer becomes aware of the animals which live in a city and critical about the preservation of natural spaces or places with strong historical and cultural value.&nbsp

In the work of Louis Aragon, flânerie is not only present in the strolls the French writer took around Paris for pleasure, but also implies a way of locating oneself in the city and in his literature. Approaching the study of the flâneur from Aragon’s poetic and literary oeuvre allows us to wander through the lines of his verses and passages of oneiric prose as though through streets and avenues, to take part in this artistic activity that irrefutably contributed to establishing him as a writer. In the present study, flânerie is therefore shown to be present not only in his Surrealist period, especially in Le paysan de Paris, but that it was a constant factor throughout all his literary work. To demonstrate this, several poems and narrative works by the French author will be analysed in depth, seeking to pin down the presence and influence of the creative gaze of the flâneur on the written text. Chez Louis Aragon, la flânerie se manifeste non seulement par les promenades que l’écrivain français fait pour le plaisir à Paris, mais aussi par une façon de se situer dans la ville et dans sa propre littérature. Aborder l’étude du flâneur depuis la production poéticolittéraire d’Aragon nous permet de déambuler dans les lignes de ses vers et les fragments de sa prose onirique, comme s’il s’agissait de rues et d’avenues, pour participer à cette activité artistique qui a contribué à sa consécration en tant qu’écrivain. Dans la présente étude, nous pourrons constater que la flânerie n’est pas seulement apparue dans la période surréaliste d’Aragon, notamment dans Le Paysan de Paris, mais qu’elle a été une constante tout au long de sa production littéraire. Pour cela, nous explorerons plusieurs œuvres poétiques et narratives de l’auteur français, en cherchant, dans cet exercice analytique, la présence et l’influence de ce regard créatif du flâneur sur le texte écrit.

Resumen Augusto d’Halmar ofició como corresponsal en París durante la última fase de la Primera Guerra Mundial. Lo hizo para los diarios La Unión de Chile y La Nación de Argentina. En este artículo se revisan algunas de las contribuciones del escritor chileno con el fin de observar los rasgos con que se describe el modo de visitar y pasear por la “ciudad luz”, intentando resolver, en medio de la guerra y a través de la escritura, la complejidad de su posición de intelectual latinoamericano. El artículo concluye con una alusión a un relato del autor que ofrece, a modo de complementación, los elementos para comprender la visión general del paseante (flâneur) en medio de París.

L’objet de cette thèse doctorale est d’examiner le rôle que la poïétique cinématographique de Federico Fellini joue dans la constitution de la Rome cinématographique. Ma stratégie est d’identifier et de questionner les éléments constitutifs de cette poïétique, afin de pouvoir discuter de son effet dans le cinéma et la littérature contemporains. La première partie de la thèse est consacrée à l’analyse des éléments constitutifs identifiés - la flânerie, le spectacle et la mémoire - dans la filmographie romaine de Fellini, divisée pour des raisons thématiques et conceptuelles en trois moments : la constellation des attractions (Luci del varietà, Le notti di Cabiria, La dolce vita), la constellation des survivances (Block-notes di un regista, Satyricon, Roma) et la constellation des simulacra (Ginger e Fred, Intervista). Intimement connectés et complémentaires, ces trois éléments permettent de vérifier l’équivalence des qualités de la Rome fellinienne avec celles de la ville réelle. Traversant la filmographie romaine de Fellini, la figure centrale de sa poïétique, qui assure le raccord entre ses éléments et aussi entre les trois hétérotopies de Rome - la ville antique, le Vatican et Cinecittà -, est le flâneur. Complexe et protéiforme, capable d’assumer de nombreux rôles et d’assimiler d’autres figures urbaines, le flâneur s’avère le guide idéal de la Rome fellinienne. La deuxième partie de la thèse sert à déterminer et analyser de quelle manière ces éléments constitutifs de la poïétique cinématographique de Fellini sont questionnés et réinventés par d’autres cinéastes et écrivains dans leurs œuvres portant sur la ville de Rome. Dans la nouvelle constellation, constituée par les films The Belly of an Architect (1987) de Peter Greenaway et Gente di Roma (2003) d’Ettore Scola, l’épisode In Vespa du film Caro diario (1993) de Nanni Moretti et le roman I fannulloni (1991) de Marco Lodoli, j’explore l’effet provoqué par la Rome fellinienne et aussi examine la rencontre entre ces diverses visions artistiques de la ville. Les résultats obtenus servent à soutenir mon hypothèse que Fellini est le Poète par excellence de la Rome cinématographique et que la rencontre entre le Poète, la Ville et le Cinéma est un facteur décisif qui fait de Rome la capitale cinématographique du XXe siècle., The purpose of this doctoral thesis is to examine the role that the Federico Fellini’s cinematic poetics plays in the constitution of the cinematic Rome. My strategy is to identify and to question the main components of this poetics, in order to be able to discuss its effect in contemporary film and literature. The first part of the thesis is dedicated to the analysis of the components identified – the flânerie, the spectacle and the memory- in the Fellini’s Roman films, divided for thematic and conceptual reasons in three moments: the constellation of attractions (Luci del varietà, Le notti di Cabiria, La dolce vita), the constellation of survivals (Block-notes di un regista, Satyricon,Roma) and the constellation of simulacra (Ginger e Fred, Intervista). Intimately connected and complementary, those three components are used to prove that the qualities of Fellini’s Rome are equivalent to those of the real city. Crossing the Fellini’s Roman films, the central figure of his poetics is the flâneur, which ensures the connection between its components and also between the heterotopias of Rome – the ancient city, the Vatican and Cinecittà -. Complex and protean, capable of assuming various roles and of assimilating other urban figures, the flâneur proves the ideal guide to Fellini’s Rome. The second part of the thesis serves to determine and to analyse how these three components of Fellini’s cinematic poetics are questioned and reinvented by other artists in their works on the city of Rome. In the new constellation, constituted by films The Belly of the Architect (1987) by Peter Greenaway and Gente di Roma (2003) by Ettore Scola, the episode «InVespa» of the film Caro diario (1993) by Nanni Moretti and the novel I fannulloni (1991) by Marco Lodoli, I explore the effect provoked by Fellini’s Rome and also examine the encounter between these various artistic visions of the city. The results obtained are used to support my hypothesis that Fellini is the Poet by excellence of Rome in cinema and that the encounter between the Poet, the City and the Cinema contributed in a decisive way to make Rome the cinematic capital of the 20th century.

Ce mémoire propose de s’attarder sur la symbolique de la flânerie pour associer le déplacement physique de la marche à l’opération mentale qui l’accompagne, mais aussi pour y tracer un rapprochement avec l’évolution des pratiques de lecture au cours des deux derniers siècles. Si l’on exigeait auparavant du lecteur qu’il se fasse en quelque sorte pèlerin traversant religieusement une œuvre selon la volonté de l’auteur, c’est un tout nouveau lecteur qui revendique le droit d’errer textuellement du Nouveau Roman jusqu’à l’hypertexte. Le concept de parcours narratif se dessine alors ici comme une alternative aux études narratologiques traditionnelles, un nouvel axe herméneutique où le lecteur dynamise ses pratiques de lectures en traçant dans une œuvre ses propres sentiers narratifs. Prenant en exemple l’éclosion hypertextuelle aussi bien que les tortueuses littératures de Kafka et de Camus, il s’agira de voir comment cette lecture-errance a renégocié, dans l’imprimé comme dans le numérique, la relation entre auteur et lecteur pour offrir une littérarité qui soit mise en marche, enfin libre d’être agie, parcourue., This mémoire proposes to dwell on the symbolism of the flânerie by associating the physical act of walking to the mental operation that accompanies it, while also seeking to draw a comparison with the evolution of reading practices over the last two centuries. If in the past the reader was expected to follow the path set by the author religiously, what followed, from the Nouveau Roman to the hypertext, was a whole new reader claiming the right to wander textually. The concept of narrative path emerges here as an alternative to traditional narratological studies; it constitutes a new hermeneutic approach where the reader makes his reading practices more dynamic by charting his own narrative paths inside the work itself. Using as examples the irruption of hypertext as well as the tortuous literatures of Kafka and Camus, this mémoire will examine how the wander-reading concept helps to renegotiate, both in print and digital forms, the relationship between the author and the reader in order to offer a literature that’s in movement, finally free to be acted upon, to be crisscrossed., [À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département de littérature comparée]

This essay looks at two novels by Tessa McWatt, at her first novel Out of My Skin (1998), set in Montreal, and at one of her later novels This Body (2004), set in London, Toronto, and Guiana. Both novels address issues of origin and belonging, of nationhood, and of the global metropolis, and in both novels the female protagonists change urban space in practices which bring the knowledge, habits, and stories of other places into the city. As the novels' titles already indicate, these practices have a distinctly corporeal component to them as McWatt’s protagonists experience their losses and migratory displacements through their bodies and try to inscribe their difference into the space of the city. Daphne in Out of My Skin and Victoria in This Body counteract their feelings of disembodiment and displacement in embodied practices. This essay focuses on walking and cooking as two quotidian practices which physically engage us in understanding the world and which defy the Western body/mind split.

This article analyzes the flâneur (strolling spectator) poetics and the flanerie in the work of five Latin American modernist writers. As narrators, each one of them is conscious of and reflects about his behavior as flâneur and the tactics of flanerie or callejeo. Flanerie is interpreted as the gaze intellectuals use to understand the Turn of the Century city. The idle and indolent street strolling, ritual of the classic flâneur, is adopted in the writing of Enrique Gómez Carrillo, Julián del Casal, Amado Nervo o Manuel Gutiérrez Nájera. Este artículo analiza la poética del flâneur y la flanerie en los escritores modernistas latinoamericanos. Como narradores, cada uno de ellos toma conciencia y reflexiona sobre su comportamiento como flâneur y sobre la táctica de la flanerie o callejeo, interpretada como mirada que utiliza el intelectual para comprender la ciudad fin de siglo. El callejeo ocioso e indolente, ritual del clásico flâneur, es asumido por la escritura de Enrique Gómez Carrillo, Julián del Casal, Amado Nervo o Manuel Gutiérrez Nájera.

The purpose of this article is to show the importance of costumbrist flâneur literature in the development of this aesthetic movement in Spain. The dimensions of the flâneur and of flanerie are analyzed in writings by Larra and Mesonero Romanos: a curious attitude towards public spaces, physical distancing, identification of urban social types, leisure behavior, semiotic metaphore use of the city as an open book, fragmented perception of urban diversity. In this article relations are also established with the European costumbrist literature of the time (France, Germany, England). El propósito de este artículo es demostrar el amplio desarrollo que la literatura del flâneur ha tenido en el movimiento costumbrista español. Se analizan las dimensiones del flâneur y de la flanerie en Larra y Mesonero Romanos: actitud curiosa hacia los espacios públicos, distanciamiento físico, identificación de tipos sociales urbanos, comportamiento ocioso, utilización de la metáfora semiótica de la ciudad como libro abierto, percepción fragmentaria de la diversidad urbana… Este artículo también establece relaciones con la literatura costumbrista europea de la época (Francia, Alemania, Inglaterra)

Lisbon is a city of labyrinthine paths, due mostly to its irregular territory. The experiment of Flânerie in is explored in this paper through the identification of particular paths linked to the contemporary alternative cultural life, a debate being undertaken on how space and culture (alternative or dominant) mutually inspire one another. Urban and architectural elements will be analysed in connection with these paths, as well as the sensorial aspects of particular ambiences. Some attention is also given to accessibility, visibility and contrasts. The analysis of these aspects will lead us to explore the labyrinths and the entertainment that you can find in Lisbon’s streets, but also in inner spaces (alternative cultural places). These spaces tend to exist in the interstices of the city (wastelands), where urban exploration may happen thanks to its veiled character. One particularity of alternative cultural spaces is that they can both be visible and invisible, more or less accessible. Since they are spaces that suffered many transformations through time, by trying to adapt to different functions, their inner paths are often irregular and labyrinthine. This characteristic invites us to explore them and wander. Lisbon’s almost dramatic and quite poetic promenades have in fact a close relationship to its diverse cultural heritages and realities (fado, multiculturalism and contemporary alternative culture). Lisbon’s walls seem to speak poetry, but also to warn us about the general political and economic situation and complain about it. As if the city would talk to us while we take a promenade. Lisbon’s attractive scenography has become the perfect territory for managers and sponsors. Wouldn’t our urban experience become much less boring if adventure and “strong emotions” were constantly part of our routine? Fun and excitement in an urban form has already been tested and confined in Luna parks. But today the city streets are planned to be a place where leisure is permanently possible, urban landscape being invested in a ludic way (through interactive objects, irregular pavements, water jets in squares, colourful lights and materials). Graffiti is no longer illegal, but part of well-organized tourist tours, and alternative cultural places start to look more like a franchised entertainment centres than actually places for hosting underground culture. Labyrinths are now planned as part of the creative process of an architectural project in order to amuse users of coworking places. There’s no space left for hazard. Everything is created or manipulated in order to capture our attention and play with our senses. Urban exploration and dérive have now also become part of the dominant ideology, absorbed by this “new spirit of capitalism”. Nevertheless, the act of flâner cannot really be tamed. Its inherent praise of laziness and pleasure of being inutile goes against any attempt of control by productive work principles and market laws. May therefore flâner still manage to be a moment of introspection, and therefore of reflection and resistance?