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Urban sensations are the grounding force that binds the 'flâneur' to the streets. A 'flâneur' is a French term that describes a casual wanderer and a keen observer of society, culture, and the environment, often found in urban settings. The term originates from the 19th-century Parisian context and is associated with the literature of Charles Baudelaire and the idea of modernity. This study applies the theoretical approach of psychogeography, giving a heuristic point of view to present an analysis of the sensory urban experience that allows the 'flâneur' to move sensibly in the fictional urban labyrinth. Drawing from Boutin's work, which addresses how the 'flâneur' transforms the city into a sensory-rich environment, this study delves into the visionary, auditory, and tactile experiences that anchor the 'flâneur' in Chan Ling Yap's New Beginnings to the streets of the British colonial rule in Malaya and Singapore. It also explores the protagonist's struggle to navigate and confront the alluring yet perilous attractions of the urban landscape. The aim is to uncover deeper insights into his internal conflicts and the implications for urban residents' interactions with their environment. The findings show that the protagonist's engagement with the urban environment demonstrates the pleasure of city wandering and the wisdom of 'flânerie' is not exclusive to the privileged but can also empower individuals from less privileged backgrounds as he adeptly navigates and interprets the city to elevate his societal standing and achieve his goals. [ABSTRACT FROM AUTHOR]

This article examines a personal practice-based research developed during the 2010s that explores the contemporary urban experience of the metropolis of Shanghai, identifying features and attributes of its public space from the inhabitant perspective. The urban space of Shanghai, in connection with the surreal, is labyrinthine, interconnected and heterogeneous. It has an ambiguous hierarchy and order, where anything can be linked to another, and it is sometimes difficult to distinguish between what is real and what is simulated. Culturally polymorphic and borderline, this space does not belong to any particular historical place or period. It only exists in the present, in continuity, in constant transformation, on scales where the small, accessible and domestic coexist with the territorial, public and impenetrable. The support of these spaces of hybrid nature where the technological, the animal and the vegetal coexist is the city in constant expansion, which assimilates the transformation for the development of activity and where masses of people and vehicles stream from everywhere in every direction. Through photography and digital manipulation techniques, the project captures and enhances the perception of the atmosphere and spatial relationships as elements that condition activity patterns in their inhabitants along with sociocultural guidelines. On the other hand, chromatic and surface/print media treatments explore aesthetic aspects related to elements of traditional and popular artistic representation characteristic of East Asian cultures. Thus, together with highly contrasting styles of black and white and even negatives, bright and sharp colours coexist with strongly contrasted and outlined contours over metallic supports that evoke everything from the traditional to the technological. [ABSTRACT FROM AUTHOR]

This essay offers an interpretation of the canonical history of strolling as a non-economic practice, that is, as a practice free of purpose and means. I consider strolling as a state of mind that discloses abundance in a similar way as rationality discloses scarcity. I inquire into the multiple facets of this state of mind by re-reading three phases in its literary and cultural history: the early modern artist-stroller of the nineteenth-century panoramic literature that finds its peak in Charles Baudelaire; the high modern consumer-stroller as described in the inter-war period, notably in the work of Walter Benjamin; and the late modern subversive stroller that is re-discovered in the mid-twentieth century by the Situationist Guy Debord among others. This interpretation both sheds light on the social preconditions of economic rationality as an organizing principle of a market society, as well as the potential to step out of this principle. [ABSTRACT FROM AUTHOR]

Neste ensaio, de cunho teórico e descritivo, pretendemos refletir sobre a fotografia de rua, enquadrando as suas práticas e os seus artistas nos conceitos de“flâneur” e “flânerie”, desenvolvidos por Walter Benjamin (1969/1989) e originariamente abordados por Charles Baudelaire. A reflexão encontra-se articulada em três partes: na primeira, apresentaremos os conceitos de “flâneur” e “flânerie” a partir do enquadramento epistemológico originário do filósofo alemão, inscrito nos estudos sobre literatura, defendendo a tese da fotografia de rua ser uma forma de “flânerie fotográfica”; na segunda parte, demonstraremos como os princípios desta flânerie fotográfica vão determinar um registo heterogéneo do espaço público da cidade e dos seus habitantes. A flânerie fotográfica reflete transformações tecnológicas nos equipamentos fotográficos, formas securitárias e eletrónicas emergentes de controlo e registo das esferas públicas, reestruturações espaciais decorrentes de transformações económicas nas cidades e formas distintas de sociabilidade adjacentes a lugares e a não-lugares; na última parte, descreveremos a natureza do registo na fotografia de rua, defendendo a tese de não ser exclusivamente sobredeterminada pelo acaso, mas também pela serendipidade.

This article provides an analysis of C. J. Sansom's Matthew Shardlake novels (2003–2018), considering the fact that both crime and historical fiction may be used to reconceptualise collective memory in subversive ways, and with important implications for both genres. I will attempt to demonstrate that Sansom's narrative illustrates the shift in recent crime fiction from the crime itself to the historical conditions of its setting. As a result, Henrician England is presented as a very different context from that foundational time identified by Whig historiography, thereby questioning the very pillars of Englishness / Britishness that were such a central part of the country's political climate leading up to the Brexit referendum. This is not achieved through the use of any postmodern technique. Instead, the reader perceives a sense of 'neo-historical' authenticity in Sansom's fiction that results from its sensorially approaching the historico-geographical locus of the narrative through the eyes of its anachronistically cosmopolitan stranger protagonist (the lawyer Matthew Shardlake), whose walks and rides through the Tudor city turn the reader into a privileged flâneur, ultimately raising awareness of the subversive power of everyday life. [ABSTRACT FROM AUTHOR]

This paper explores an interdisciplinary approach that researchers can use to understand how people feel about their movement in the cityscape and their risk-taking activities by visualizing it. Author 1, a visual artist, and Author 2, a criminologist, used a psychogeography method where participants hand-drew maps of their everyday operations in the sex marketplace. Researchers, artists, and activists have used mapmaking to elucidate how individuals conceptualize physical space and place or their subjective, emotional relationship to the city's geography. Psychogeographers Lynch and Debord have used it to understand how participants feel about moving, inhabiting, navigating risk, and subverting space in the metropolis. We use this method as a vehicle to show how sex market facilitators' imagine the physical geographic space where they work in the nighttime economy, their embodiment in managing a business in the urban landscape, their emotions in this risk-taking activity, and how they feel rerouting city blocks and subverting formal capitalism. In addition, this technique enabled participants to feel and recall emotions of this lived experience, such as excitement, control, authenticity, shame, and freedom. Sixty participants who worked in New York City hand drew mental maps or visual depictions of where they worked within the city. This visual storytelling method provides an avenue for what O'Neill terms an ethno-mimetic process where images/performances make lived experiences palpable to viewers. In this case, we see a glimpse of the sensations of this high-risk activity in the sex marketplace, allowing us to understand participants' social relations, lived experiences, and motivations. [ABSTRACT FROM AUTHOR]

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ernest Hemingway's A Moveable Feast (1964) contains an array of his memories of the time he spent in Paris in the first half of the 1920s. The work provides an ideal vehicle to explore the connection of spatiality to memory and text production along with how imagined geography relates to empirical geography. The essay deploys a theoretical apparatus relying on the works of Martin Heidegger, Henry Lefebvre, Edward Soja, Michel Foucault, Michel de Certeau, Guy Debord, Pierre Nora, and Walter Benjamin in its investigation of a psycho-geography composed by Hemingway. The essay aims to discuss how spatiality can contribute to the construction of personal history and in what way it can promote text production, and it will also explore the impact of space on the psychological and emotional condition of the individual. (AT) [ABSTRACT FROM AUTHOR]

Between film projects and following the birth of his daughter, a Canadian in Paris (Matthew Lancit) must confront his slacker lifestyle and decide if there is something in it worth passing on to the next generation, or if he is better off getting a job. In search of the remaining traces of flâneurs (19th Century wanderers of Paris), he takes his daughter on a series of poetic strolls in which he assumes the role of a contemporary flâneur and crosses the path of people who help reveal the relevance of such a figure today. In the movement back and forth between the filmed streets of Paris and scenes from the domestic life of a young father, a dialectic emerges between a baby experiencing and making sense of the world and these wandering men trying to do the same.

Este artigo acompanha a história cotidiana da Rua Camboa do Carmo no Recife do século XIX, entre 1839 e 1849, tendo como ponto de partida o inventário de Rosa Rodrigues dos Passos, uma africana liberta sem filhos ou companheiro, que deixa alguns bens para seus malungos, possivelmente sequestrados da mesma região do continente africano. Utilizando principalmente periódicos da época, bem como uma observação inspirada no flâneur de Walter Benjamin (1989), são evidenciados apelos, rotinas, ocupações, condições de vida de diferentes grupos da localidade, mas, principalmente, as peculiaridades da escravidão urbana, destacando a resistência dos escravizados, as fugas para dentro e as possibilidades de agência, acordos e irmandades entre pessoas numa mesma situação. A análise das condições sociais, econômicas e políticas da época dos moradores residentes na Camboa do Carmo juntamente às possibilidades da experiência individual de Rosa, oferece uma compreensão mais profunda desse período histórico, demonstrando a persistência em buscar autonomia e liberdade, apesar das restrições impostas pelo sistema escravista.

This paper examines the flâneur in Orhan Pamuk's novel A Strangeness in My Mind and argues that flânerie can be a powerful practice for overcoming polarization and creating new forms of identity in a Third Space. We argue that flâneur has often been used in without considering its political implications. They propose that flânerie can generate resistance against hegemony by drawing on Bhabha's concept of the Third Space. In Pamuk's novel, the protagonist, Mevlut, is a flâneur who wanders the streets of Istanbul, observing the city. However, Mevlut is also a marginalized figure, caught between the wing and right groups that dominate Istanbul's peripheral neighbourhoods. Despite these challenges, Mevlut's flânerie allows him to create a Third Space, a position that is able to move beyond polarization. In this Third Space, Mevlut is able to explore his own identity and to form connections with the others who are also marginalized.

Copyright of Turkish Journal of Geographical Sciences / Coğrafi Bilimler Dergisi is the property of Cografi Bilimler Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Humanitas: International Journal of Social Sciences / Uluslararasi Sosyal Bilimler Dergisi is the property of Humanitas: International Journal of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

O presente ensaio procura aproximar três figuras, o flâneur, o malandro e o compadrito, originárias de três grandes cidades do século XIX, Paris, Rio de Janeiro e Buenos Aires, respectivamente, segundo os termos desenvolvidos por Walter Benjamin em ensaio clássico. Por hipótese, os três consistem, não somente, em figuras esmaecidas pelas forças do progresso, mas também performam uma resistência ambivalente a essas forças, particular a cada caso. Ainda poderíamos pensá-los como figuras relacionadas entre si e formadoras de um intrigante desenho diante do crescimento das cidades e do avanço do capitalismo oitocentista.

Durante el siglo XIX proliferó en las nuevas ciudades, en especial en París, una nueva figura que despertó la curiosidad de la teoría del arte: el flâneur, que deambulaba por ellas con un genuino goce estético, sintiéndose atraído por los pasajes benjaminianos, dejándose arrastrar entre la multitud, inmerso en ella en un agradable anonimato. Sin embargo, proponemos en este artículo que, debido al cambio en las condiciones del capitalismo actual, el flâneur se ha transformado en un data-flâneur, cuyas características se han adaptado al mundo de la Red, al capitalismo de plataformas. La mirada, que constituía el punto central del estudio de la flânerie, se encuentra fijada ahora en la pantalla de nuestros dispositivos tecnológicos, lo que también provoca el surgimiento de nuevos tipos sociales, como el hikikomori, auténtico flâneur contemporáneo.

This discussion posits that the work of the Cree artist Kent Monkman offers a unique and potent contribution to the project of decolonisation rooted in an Indigenised context. Focusing on the parodic, art historical interventions of his artistic alter ego Miss Chief, it explores his art in view of 'transmotion', a crucial but often overlooked aspect of postindian tricksterism outlined by the Anishinaabe author Gerald Vizenor, as well as the postindian approach to translation. His approach will be considered against the foil of the project of decolonising proposed by the sociologist Boaventura de Sousa Santos, framed in terms of a post-abyssal ecology of knowledges, with a focus on the notion of intercultural translation and the motion of the swerve he proposes. The discussion concludes by positing the Vizenorian figure of the mixedblood, urban earthdiver as figurehead for a decolonial era of the future, supplanting the urban flâneur of modernity. [ABSTRACT FROM AUTHOR]

Cairo has been described as a city of dualities, in the sense of its conflict between the traditions of the past and the modern values of the present. The city has witnessed rapid transformations in terms of its sociocultural aspects due to political, economic and religious changes. In his work, the acclaimed and legendary Egyptian filmmaker Youssef Chahine portrayed such changes in his 1991 short semi-documentary Al-Qahira Munawwara bi Ahlaha (Cairo as Told by Youssef Chahine) in surrealistic and flâneurie ways. This article breaks down Chahine's visual interpretation of Cairo to reveal his sense of in-betweenness as a form of urban surrealism. The film offers fragmented episodes of Cairo that are assembled to reflect Chahine's imagination and collective memory. In filming Cairo, Chahine transformed his portrait of the city into a self-reflexive illustration of a filmmaker who expresses deep admiration for Cairo and its inhabitants. [ABSTRACT FROM AUTHOR]

Este texto nasce como um comentário ao texto do Luis Inácio acerca da figura do flâneur, descrita por Walter Benjamin, e suas implicações no nascimento do romance policial. Embora a literatura seja o lugar em que a figura do flâneur seja mais amplamente discutida, as artes visuais também foram influenciadas por esse tipo de andarilho urbano. O texto que se segue procura traçar uma síntese do percurso de apropriação e desenvolvimento da flânerie, desde as excursões promovidas pelo dadaísmo, passando pelas derivas situacionistas até a Land art.

Sorana Gurian’s writing records the impossibility of a discourse of one’s own and unmasks the misogyny inherent in modernity. The Romanian short story O fată se plimbă pe stradă [A girl walks in the street] (1939) offers the author an opportunity to discuss the figure of the flâneuse, who, in its relations to modernity, public space or gender, seems to diagnose the condition of women within a modernising culture. The presence of these women in the text remains closely linked to their corporeality, constantly questioned and constrained by a hostile society. This is all the more visible in the case of a young girl with mobility disabilities: a close reading highlights the narrative function of walking, a physical activity that gives a temporal and rhythmic framework to the text.

The greatest popularity of the phenomenon of flânerie appears in the periodof modernism, when it was often used by poets and writers to describe the expression and dynamics of an individual. Flaneur, the carefree hero aimlessly strolling around the city, described everyday life, filtering it through his own perception. However, can the flaneur figure still be used today, and have any innovative potential? Reporter Filip Springer seems to be one of the authors whose texts play with the modernist dimension of the flaneur. As a result of shifting the Focus from the aesthetic to the ethical, a new strategy of action is revealed, which I call the ecological flaneur, an environmental walk during which one experiences a reality changed by human activity and as a result of climate change caused by it. Based on the series Zmiana klimatu już tu jest and Wyprawa po nadzieję, as well as a collection of reports Wanna z kolumnadą. Reportaże o polskiej przestrzeni, I will trace the changes made by the reporter in the modernist dimension of the flaneur.

Many current paradigms of world literature, aligned to world-systems theory or Casanova’s “world republic of letters,” assume a diffusionist model of literature that situates the origins of literary modernity in the West. This model has found particular favour in the privileged case of the novel, but how do things stand with other genres? This essay examines the physiology, a popular quasi-journalistic genre dedicated to the taxonomic description of mores, customs and social types. Popularly associated with the figure of the urban flaneur and subsequently critiqued by Walter Benjamin, the physiology peaked under the July Monarchy in France and gained unprecedented success in Russian letters where it served to generate the basis of a non-bourgeois public sphere, after which it was also adapted to the circumstances of Russia’s own imperial borderlands. This paper outlines the essential contours of the physiology as it arose in France, in terms of its internal poetics as well as its social currency, and compare its French life with its Russian metropolitan counterpart, where it was transformed from a paraliterary genre to one that would occupy the centre of the Russian literary life in the transition from romanticism to realism. Its subsequent life in the Caucasus region reveals the rise of a colonial urban aesthetics of the picturesque. Does this story confirm or confound the diffusionist model? The essay’s external trajectory confirms the European origins of the genre and its subsequent circulation throughout the Russian empire, from metropole to periphery. A discussion of genre, however, requires more than an account of its its immanent structural features or its subordination to a singular external socio-spatial logic. The social life of circulating genres points to their divergent role in different literary systems, and to the distinct formal and ideological solutions they propose within regional or local contexts. It would appear, then, that the diffusionist model is pertinent to the movement of some hegemonic genres in the modern era, but that the centre/periphery model needs to be complemented by greater attention to the trans/regional and the local as defining levels of geographic scale in the realm of cultural production. Only a trans-scalar analysis, moving between multiple spatial levels, allows us to honour what humanists celebrate as cultural specificity without sacrificing the global perspective offered by world-systems theory.

For many contemporary readers, the flâneur is synonymous with the Paris of Baudelaire, its Haussmannised Grands Boulevards, and the so-called "bain de multitude"—that is, the idea of the crowd as immersive spectacle. In his reading of Baudelaire, Walter Benjamin points to texts like "Les Foules," from Le Spleen de Paris, as well as "L'Homme des foules," a translation of Poe, as interpretive keys to understanding the Baudelairian flâneur. However, Benjamin overlooks an earlier and arguably more important text of Baudelaire's on the subject: 1860's Les Paradis artificiels. Baudelaire's extended study of drug use and creativity is comprised mainly of a translation and adaptation of Thomas De Quincey's 1821 memoir, the Confessions of an English Opium-Eater. As their titles suggest, both the Confessions and Les Paradis artificiels are centred mainly on addiction; but they are also, on a core level, texts about modernity, the urban space, and the flâneur (or the "peripatetic," as De Quincey calls him). This article considers Baudelaire's translation of De Quincey's crowdscapes in Les Paradis artificiels and the re-emergence of De Quinceyan imagery and expressions in Baudelaire's subsequent writing on flânerie and the modern city. [ABSTRACT FROM AUTHOR]

Sorana Gurian's writing records the impossibility of a discourse of one's own and unmasks the misogyny inherent in modernity. The Romanian short story O fată se plimbă pe stradă [A girl walks in the street] (1939) offers the author an opportunity to discuss the figure of the flâneuse, who, in its relations to modernity, public space or gender, seems to diagnose the condition of women within a modernising culture. The presence of these women in the text remains closely linked to their corporeality, constantly questioned and constrained by a hostile society. This is all the more visible in the case of a young girl with mobility disabilities: a close reading highlights the narrative function of walking, a physical activity that gives a temporal and rhythmic framework to the text. [ABSTRACT FROM AUTHOR]

Early twentieth-century Chinese realist depictions of indoor space, such as the crowded tenement house and the penniless writer's abode, enabled the portrayal of the physical and psychological exigencies of poverty. This set of narrative concerns arose in a period when Chinese writers were preoccupied with the alleged material and cultural poverty of China in comparison to the West. To remedy this purported backwardness, Chinese writers appropriated from foreign literatures, especially Russian realism, narrative themes and techniques such as the use of metonymy in the depiction of spatiality, the figure of the impoverished flâneur-like urban perambulator, and the very topic of poverty itself. This gave rise to innovative forms of modern Chinese narrative, tracing the spatial, material, and bodily experience of poverty in painstaking detail. In particular, I examine how Yu Dafu elaborates on literary elements from Russia in his 1924 story "Nights of Spring Fever," which deploys the metonymic confines of impoverished, narrow spaces in order to explore wider topics of social class and transcultural encounter. [ABSTRACT FROM AUTHOR]

Starting from the assertion on the subversiveness of walking, this text attempts to show how the emancipatory potential of one of the most everyday forms of movement can manifest itself in concrete social life at the level of its practicing. Through a case study, we aim to show why walking is of central importance when it comes to possibilities of re-appropriating public space, time and the body. The article first presents specific guided urban walks and contextualises them in terms of their content and the potential that walking offers for its perception and understanding. As the results show, through the specific interaction of the body with time and space, walking has the capacity to emancipate their currently neglected aspects – due to the slow pace and by enabling a multi-sensory experience of space, walking can be understood as a form of manifestation and demand for the qualitative. [ABSTRACT FROM AUTHOR]

This paper explores the sticker as a semiotic and ideological element in urban space, through which social groups communicate competing meanings. From a methodological point of view, starting from the character of the flâneur, walking is considered a useful tool for understanding the signifiers of the city. Thus, this paper presents a content analysis of the stickers displayed in the central area of Bucharest, documenting over a thousand stickers. Two stickers with an anticommunist message numerically dominate the other stickers in the analysis. Researching the emitters of these messages, the paper concludes that anticommunism is used by them in order to propagate far-right ideas and to glorify the Romanian legionary movement.

O presente artigo trata sobre uma forma de vista a respeito do espaço urbano, além das maneiras de ocupar a cidade e se relacionar com o tempo na contemporaneidade e parte do período entendido como moderno da história da arte. Nele ainda é apresentada uma pequena revisão histórica a respeito do flâneur, assim como também estabelece reflexões sobre a experiência e o cotidiano. Por fim, se analisa e relaciona os conceitos apresentados com duas produções cinematográficas brasileiras: Décimo Segundo Andar, 2016 e Viajo porque preciso, volto porque te amo, 2009. Como referencial teórico para a fundamentação do artigo, encontram-se os teóricos: Baudelaire (1988), Certeau (2012), Featherstone (2000) e Larrosa Bondía (2002).

Copyright of Philologist / Filolog: Journal of Language, Literary & Cultural Studies is the property of University of Banja Luka, Faculty of Philology / Univerzitet u Banjoj Luci, Filoloski Fakultet and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Marmara University Journal of Turkology / Marmara Türkiyat Araştırmaları Dergisi is the property of Marmara University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper proposes a comparative historical analysis of shopping environments, focusing on the aesthetic experience they offer to the consumer and underscoring their nature as phantasmagorias. At a time when digital disruption, exacerbated by the recent pandemic, has dramatically changed social habits and the cityscape, this research aims to investigate the impact of technological and social transformations on the buyosphere and the practice of shopping. The approach's original perspective looks at the close correlation between the flâneur and the consumer, examining how retail spaces in the modern metropolis have developed. The shopping experience is shown as a social ritual with complex facets, where the urban walker and the cityscape have gradually transformed, giving symbolic meaning to architectural forms and human identities. The findings of this study call for considering the opportunities and threats of the present scenario. The shift to the virtual realm has created new forms of phantasmagoria, such as the immersive experience in the brand's universe combined with omnichannel strategies. At the same time, the "retail apocalypse" and the reduction of spaces for wandering may risk limiting social encounters, the freedom of movement, and the individual's ability to interpret urban reality, elements that once defined the practice of flânerie. [ABSTRACT FROM AUTHOR]

Este artículo retoma la potencia de la figura del flâneur que Walter Benjamin toma de Charles Baudelaire a la luz de los efectos que han tenido los desarrollos de la tecnología en las grandes urbes contemporáneas. Analiza algunos de los senderos explorados por autores como Steven Shaviro, Manuel Castells y Katherine Hayles en torno al desarrollo de Internet y la inteligencia artificial, con el fin de actualizar algunas de las inquietudes y fabricaciones que Benjamin nos heredó para poder pensar así, algunas estrategias y/o herramientas y poder fabricar un despertar, tal y como lo pensaba Benjamin.

The essay aims to analyze the writings of Gianni Celati and his way of ‘re-narrating’ and ‘re-mapping’ the environment in contemporary times, focusing on two trilogies, namely Narratori delle pianure (1985), Quattro novelle sulle apparenze (1987) and Verso la foce (1989), as well as on the collections of short stories Un eroe moderno (2008), Il benessere arriva in casa Pucci (2008), and Selve d’amore (2013). The paper discusses how the themes addressed by the author, who assumes the role of a flâneur of postmodernism, are a way to express his continuous nostalgia for the naturalness, simplicity, and originality of living and narrating.

En este trabajo nos proponemos indagar en la figura de cavilador [Grübler] que Benjamin utiliza para caracterizar a Baudelaire en “Parque Central” y en el convoluto J que le dedica al poeta en la Obra de los pasajes. Los estudios sobre la cavilación en el filósofo judeo-alemán se han centrado en su vínculo con el saber melancólico y la alegoría en el Origen del drama barroco alemán. En esta ocasión, procuramos mostrar los desplazamientos que se producen respecto del abordaje de la cavilación en Baudelaire a la vez que sostenemos que esta actividad debe ser esclarecida no sólo en relación con la alegoría sino también con la flânerie. Entendemos que en torno de la cavilación se despliega una concepción materialista del pensamiento, en la que se plasman motivos no-humanos y se lleva a cabo una articulación entre teoría y práctica, o entre pensamiento y acción, a través de la complementariedad entre la actitud del alegorista y del flâneur. Así, con la figura del cavilador, Benjamin disputa con la tradición filosófica no sólo la perspectiva dominante del pensamiento en términos de actividad humana contemplativa sino también sus potencialidades crítico-políticas para dar cuenta de los fenómenos concretos de su tiempo en un horizonte que rebasa los límites de lo humano.

The greatest popularity of the phenomenon of flânerie appears in the periodof modernism, when it was often used by poets and writers to describe the expression and dynamics of an individual. Flaneur, the carefree hero aimlessly strolling around the city, described everyday life, filtering it through his own perception. However, can the flaneur figure still be used today, and have any innovative potential? Reporter Filip Springer seems to be one of the authors whose texts play with the modernist dimension of the flaneur. As a result of shifting the focus from the aesthetic to the ethical, a new strategy of action is revealed, which I call the ecological flaneur, an environmental walk during which one experiences a reality changed by human activity and as a result of climate change caused by it. Based on the series Zmiana klimatu już tu jest and Wyprawa po nadzieję, as well as a collection of reports Wanna z kolumnadą. Reportaże o polskiej przestrzeni, I will trace the changes made by the reporter in the modernist dimension of the flaneur. [ABSTRACT FROM AUTHOR]

The experience of time and space is one of the main veins of cinema and architecture. The area where the two disciplines intersect in this direction can be read within the framework of the images created by the films through flowing images. The created images allow the perception and reading of the space. The way the cinema presents space expansions through montage leads to a similarity between the experience of a flaneur traveler in the city and the cinema audience. The study, which developed within the framework of the idea that cinematographic approaches are an effective tool in reading individual perception in urban space, aims to read the ways in which the relationship of the individual with the place as a traveling observer is transformed into information with cinematographic tools, within the framework of the experience of the urban dweller of flaneur. In this direction, the way the films show the city as moving during the walk was tried to be read with the view of the city of flaneur. In line with the existence of the concept of flaneur in films, the silent and sound cinema periods are handled as two separate groups. In the silent cinema era, the camera viewfinder's wanderings in urban spaces are replaced by the character and narrative plot in the sound cinema era. As a result of the study, it was seen that an exemplary reading associated with the urban flaneur is possible in terms of the way the cinema uses and presents the city as moving fragments and the perception of the architectural space based on movement. [ABSTRACT FROM AUTHOR]

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The following text is inspired by a special issue of the journal ESPES vol. 10, no. 2 (2021) entitled Everyday Aesthetics: European Perspectives and returns to the theme of flâneurie. It focuses on the Czech environment and, after a brief outline of the artistic flâneurism associated mainly with Prague, it moves on to the specific phenomenon of the Brno štatl and štatlaři, which are to some extent related to flâneurism. The štatl community followed the tradition of the plotna, a more closed group of socially weaker inhabitants of the city in the first half of the twentieth century, whose features included a special dialect – hantec. Štatlaři recruited more from the milieu of the educated people, bohemians, and artists, adopted, and transformed. The aim of the study is to show which characteristics flâneurism and “štatlař-ism” have in common and in what ways they differ. Furthermore, we will address the question of how knowledge of the phenomenon of štatlaři can influence the perception of flaneurs when they are walking around the city of Brno.

This text is an attempt to collect traces of readings on the hermeneutics of the city as a space dense with meanings that require discernment in a completely unusual phenomenology, and not just the topography of the city. The modern humanities have greatly contributed to an understanding of and searching for discourse of such places/non-places, passages, alleys, and labyrinths, in which the body each time feels different and forces a different description than a neutral one or an indifferent one. It is not without significance that we have long known that sometimes the “genius loci,” as well as our fear, alienation, or, on the contrary, domestication, and captivation truly reign. This article is a survey of my readings and fascinations that arose thanks to them. Walter Benjamin’s reflections on passages are the basis of my discourse. I also use the accomplishments of outstanding Polish humanists, creatively fitting into this perspective.

While verticality seems intrinsic to the fabric of the modern city—a concrete second nature—understanding this dimension involves negotiations of people, functions, scale, and representations, especially as mobile people transform existing cityscapes. Perhaps nowhere is this more evident than in Chinatowns worldwide, where generations of Chinese, interacting with complex cities around them, have created places for varied immigrants and dispersed descendants in public and private spaces above and below the street. Verticality here is both intimate and performative, internal and external, “real” and imagined, as this walk through the Chinatown of Philadelphia, Pennsylvania (USA) illustrates. Deciphering layers and dimensions of verticality, at the same time, expands our perceptions of both Chinatowns as places and the growth and structure of modern cities.

The article takes a look at four literary texts and analyses them from the perspective of literary flaneurship. In doing so, the study accentuates the category of subject and space of the city from the point of view of their mutually given constitution and the parameters of media fixation of the flaneur act. Textual analysis is based on the understanding of flaneurship as a way of reorganising of the objective city space. The article looks at Ján Rozner’s autobiographical novels Sedem dní do pohrebu ([Seven days to the funeral] 2009) and Noc po fronte ([Night after the front] 2010) in the context of textual creation of Bratislava as a palimpsest, uncovering layers of city’s history in the intersection between personal memory and history. Stanislav Rakús’ novel Temporálne poznámky ([Temporal notes] 1993) is read primarily through the prism of literary flaneurship seen as a way of resisting disciplinary mechanisms of totalitarian power attempting at utilitarian structuration of space and time. The analysis of Peter Macsovszky’s Mykať kostlivcami ([Making skeletons dance] 2010) accentuates the intertextual handling of the space.

This essay seeks to bring together three figures, the flâneur, the malandro and the compadrito, from three great cities of the 19th century, Paris, Rio de Janeiro and Buenos Aires, respectively, according to the terms developed by Walter Benjamin in a classic essay. By hypothesis, the three consist not only of figures dimmed by the forces of progress, but also perform an ambivalent resistance to these forces, particular to each one. We could still think of them as figures related to each other and forming an intriguing design in the face of the growth of cities and the advance of nineteenth-century capitalism.