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Treballs Finals del Màster de Teoria de la Literatura i Literatura Comparada. Facultat de Filologia. Universitat de Barcelona, Curs: 2017-2018, Tutor: Àlex Matas Pons, El flâneur siempre ha sido una figura extraña, a menudo confundida por el dandy o el fisonomista e, incluso, por el detective. La ambigüedad forma parte de su ser, debido a que desde sus orígenes a principios del siglo XIX1 hasta hoy en día ha cambiado múltiples veces de máscara. Comenta Matas que es “una figura sobresaliente cuyo modo de comprensión de la realidad depende de una perspectiva móvil que da cuenta de la complejidad de unas situaciones que desafían al estatismo”2. Esto significa que el flâneur desarrolla sus habilidades y se convierte en un tipo social destacado a lo largo de un siglo XIX en el que la ciudad cambiaba vertiginosamente y los medios de transporte aumentaban la velocidad, desafiando el estatismo...

In un suo breve scritto del 1937, Présence de Paris, Paul Valéry sembra indicare all’uomo che attraversa le città moderne un filo di Arianna per orientarsi in esse disorientandosi: lasciandosi cioè prendere (catturare) dai rumori e dai silenzi, dalle pietre e dalla vita che si presentano allo sguardo e alla memoria. Recensendo il libro di Franz Hessel, Spazieren in Berlin (1929), Walter Benjamin ha scritto che la città moderna «è l’immenso spettacolo della flânerie », un paesaggio di pura vita che può essere colta solo da quel promeneur solitaire et pensif che è il flâneur : un poeta-filosofo (secondo Baudelaire) che sa ridurre «a qualche forma di intelligibilità » la multiforme geografia morale della città e «celebrare gli ultimi monumenti di un’antica civiltà dell’abitare». In his short work of 1937, Présence de Paris, Paul Valéry seems to point out an Ariadne’s thread for the man who walks modern cities so that he can find his way disorienting himself: i.e. opening up to being captured by noises, silences, stones and life which offer themselves to his gaze and memory. Reviewing Franz Hessel’s, Spazieren in Berlin (1929), Walter Benjamin wrote that the modern city «is the immense show” of the flânerie», a landscape of pure life grasped only by that promeneur solitaire et pensif who is the flâneur, a poet-philosohe (according to Baudelaire) able to reduce «to some form of intelligibility» the multiform moral geography and «to celebrate the last monuments of an ancient civilization of inhabiting».

In 1762 the philosopher Jean-Jacques Rousseau observed that we are blind half our lives because of what we miss during the night. Yet we fear the dark, and are led to believe that bad things happen during the small hours, especially in cities. This is when insomniacs, psychopaths and photophobics--those who are afraid of the light--roam the streets; the time when 'normal' people should be tucked up in their beds. The Elizabethan playwright Thomas Middleton wrote that there should be 'no occupation but sleepe, feed, and fart' during night-time hours.Yet there have long been literary walkers, flaneurs, who have wandered the dark streets of their cities to uncover the secrets of the night: from Restif de la Bretonne, in his 1789 Les Nuits de Paris, labelled both eccentric and pornographic--to Charles Dickens, who in his Night Walks (1861) evoked the sleeplessness of 'a man who defied the night, with all its sorrowful thoughts'. As cities became lighter, through the advance of technology and commerce, the writer's fascination in the mystery of the night-time city faded. But some cities, restless metropolises like New York and London, retain their nocturnal allure.Madrid is one such city. In 2016 writer Ben Stubbs was drawn to explore the Spanish capital at night like the flaneurs of the past. He set out when the sun went down to examine the life of the night in this often-maligned city, a place famed for its late hours and exuberant nightlife. Exploring the history of everything from tapas to the new politics of Podemos, he encountered the city's cultural quirks and clandestine stories while talking to many Madrilenos who are normally denied a voice in the city.As each hour of the night unfolds, Stubbs discovers different layers within Madrid that many visitors do not see as they stick to well-trodden guidebook itineraries. The deepening darkness reveals cross-dressing migrants, people who live at the airport, Muslims celebrating Ramadan, hotel workers hidden in the bowels of the Ritz, all-night taxi drivers, party-goers enjoying their nightly marcha from bar to bar, poodle-blessing priests and locals in the poorer barrios who walk the streets with him to share the experience of a trasnochador--one who lives during the hours of the night. Mixing personal observation with literary and historical references, Stubbs introduces us to a hitherto unknown and fascinating dimension of Madrid.After Dark reveals a multifaceted city, full of surprises and possibilities, and very much awake and alive between dusk and dawn.

Este libro recoge las respuestas de personas muy distintas a una misma pregunta. La pregunta acerca del lenguaje que, desde cada disciplina y cada experiencia, es capaz de hablar del espacio habitado que compartimos, del espacio de la ciudad, de las ciudades, de los lugares construidos y fundados para vivir en ellos. Esta función del lenguaje es la que se ha considerado creadora de una

Este libro recoge las respuestas de personas muy distintas a una misma pregunta. La pregunta acerca del lenguaje que, desde cada disciplina y cada experiencia, es capaz de hablar del espacio habitado que compartimos, del espacio de la ciudad, de las ciudades, de los lugares construidos y fundados para vivir en ellos. Esta función del lenguaje es la que se ha considerado creadora de una

The communication explains the shared experience