Flânerie

The extensive use of smartphones in our everyday lives has created new modes of appropriation and behavior in public spaces. Recognition of these are essential for urban design and planning practices which help us to improve the relationship between humans, technologies, and urban environment. This study aims to research smartphone users in public space by observing their altering visual attention and walking behavior, and, in this way, to reveal the emergent "new figures". For this purpose, Korenmarkt square in Ghent, Belgium, was observed for seven days in 10-min time intervals. The gaze and walking behavior of smartphone users were encoded as geo-located and temporal data, analyzed and mapped using statistical and spatial analysis methods. Developing and implementing new methods for identifying the characteristics of smartphone users, this study resulted in a nuanced characterization of novel spatial appropriations. The findings led to a better understanding and knowledge of the different behavior patterns of emergent figures such as "post-flâneurs" and "smartphone zombies" while uncovering their altering visual interactions with and movements in the public space. The results evoked questions on how researchers and designers can make use of spatial analysis methods and rethink the public space of the future as a hybrid construct integrating the virtual and the physical.

Em diferentes épocas marcadas por choques de valores e mudanças sociais, os cidadãos urbanos aparecem na literatura jornalística que Walter Benjamin chamou de flânerie como uma legião de homens "ofuscados" pela proliferação de signos. Dessa cegueira coletiva surgem solitários repórteres propondo-se a enxergar "a alma das ruas". A cidade que atravessa a madrugada sem que ninguém além do repórter coruja a testemunhe pela escrita, apresenta-se como um horizonte de malditos. Nela alinham-se tipos humanos e inumanos (LYOTARD) despercebidos, pois o flâneur desconfia que o esquecimento de certos homens, ratos, cenários e coisas é da mesma ordem antropocêntrica. Mostramos como Gay Talese atualiza a flânerie de Baudelaire, Mercier, Réstif de La Bretonne e João do Rio, publicando uma série de reportagens produzidas por esse olhar vira-lata que traduz a instância inumana e impessoal da escrita (FOUCAULT, BARTHES).

My contribution today is titled Walking with buildings. The flâneur and the (im)mobilizing power of non-human narrators and aims to reflect on the contrasting encounter between the apparent immobility of buildings, as non-human inert bodies, and the peculiar mobility of the flâneur. I said apparent immobility because my provocation starts precisely from the idea that buildings, despite their inertia, have an intrinsic power to mobilize our gaze and move our feet: my proposal is to imagine them as non-human narrators that invite the flâneur to move in the city both vertically, discovering changes in time, and horizontally, exploring connections in space. Furthermore, as (im)mobile concrete archives, buildings invite us to reflect once again on the peculiarity of the flâneur’s mobility, which is made of a constant alternation between walking and resting, listening and writing practices. Even if always on the move, the flâneur constantly takes time for slow practices like resting, reflect and writing, thus resisting through his own body to the rapid flows of contemporary cities and neoliberal rhythms.
I will explore these suggestions by proposing three examples: first, a graphic novel by Will Eisner published in 1987 and titled "The building"; second, "Living with buildings and walking with ghosts" the latest work by the well-known psychogeographer Iain Sinclair, which appeared in 2018 and became also an exhibition; third, a personal flânerie in the Brutalist Robin Hood Gardens Estate, that I’ve realised in February 2019 while I was living in Tower Hamlets, East London. Following Sinclair’s exploration, I will focus on brutalist estates as architectural bodies that have peculiar stories to tell thanks, to their controversial and critical position in contemporary London as in many other cities. But, How can we listen to voices of buildings, interpreting them as non-human narrators that keep stories hidden in them? Furthermore, “is there a link between the walking and storytelling practice of the flâneur and the encounter with the (im)mobilities
of buildings?”

This article examines the popular fascination with what was known as "ryōki" (curiosity-hunting) in Japan during the 1920s and 1930s.  In the 1920s, there emerged with the rise of the mass printing industry, a large number of publications dedicated to "strange" and "curious" things, including things associated with foreign cultures and expressions of non-heteronormative forms of sexual desire.  These publications helped establish a dynamic that was characteristic of the 1920s and 1930s culture of ero, guro, nansensu: readers might vicariously enjoy some “strange” or perhaps even transgressive occurrence that, because it was coded as “strange,” necessarily remained at a remove from ordinary life. At the same time, the desire to discover and interact with unusual things (sometimes called ryôki shumi , literally, “interest in, or taste for, curiosity hunting”) in some cases gave rise to a form of active pursuit in which readers set off on their own adventures, becoming “curiosity hunters” (ryōkisha) exploring the city and the fringes of the “known” world, most often in a search for manifestations of eroticism (especially in its non-heteronormative forms) or crime. Such ryōki adventures became a feature of popular modernist literature, especially the genre of mystery writing known as tantei shōsetsu.  This article examines a number of these publications in relation to trends within ethnography, sexology, literature, and the consumption and imagination of urban space in  Japan during the two world wars.

The image of the urban stroller in surrealist narratives has emerged as one of the more important symbols of the movement. The male flâneur figure and his prolonged, aimless urban strolls signify rebellion against bourgeois standards like work ethic, the accumulation of wealth, and punctuality. A number of prose pieces, including André Breton’s Nadja (1928), codify what became one of the more important surrealist practices of the interwar period. But Breton fails to present the female perspective, despite the centrality of the eponymous heroine and another unnamed woman, who both inspire surrealism’s most well known description of love in the urban context. This article aims to address the void and examine the work of Léona Delcourt (“Nadja”) and Suzanne Muzard (“X”), whose female portrayal of urban surrealism highlights the benefits and consequences for the women who practiced it.

The practice of psychogeography has a long and rich tradition which continues to inspire artists today. Writers and artists such as Laura Oldfield Ford, Patrick Keiller and Janet Cardiff continue to produce work in the  psychogeographic tradition, indicating that this tradition remains able to inform new artistic and theoretical responses to the rapidly changing metropolis.

Yet psychogeography is an unfortunately exclusionary tradition. The vast majority of literature on psychogeography centers the masculine subjectivity of the flâneur as an urban wanderer, without adequately accounting for women’s experience of, and engagement with, the city. By analysing a selection of literary and artistic works by women who use their experiences of the city as a kind of field research, including some of my own works, I hope to demonstrate how women’s creative engagement with the city both reconnects to the ethos of the early psychogeographers, and extends the practice of psychogeography. A key concept to this extension is ‘Sociogeography’, a term used by artist Laura Oldfield Ford to describe her artistic practice, which is elaborated on further in this text.

Despite the multitude of filmmakers and characters that wander these urban environments, locating revelatory findings in its spatial-imaginary as they do, the flâneur remains a surprisingly underdeveloped concept in film theory. A uniquely cinematic version of flânerie may at once work to innovate upon Benjamin’s figure of the flâneur, perceptions of the cityscape, and the capabilities of cinema in general. It is with these several reconstitutive possibilities in mind that this essay questions whether the flâneur might be a concept that intervenes into conventional representations (of cities; of the wandering spectator) to political effect. Certain aesthetic qualities (through which the cinematic flâneur is produced) might themselves be indispensible to the production of politics. In order to contemplate the idea, I consider the relationship between aesthetics and politics in light of the writing of Jacques Rancière, in order to reiterate how it is that I see the flâneur as a concept with a political potential. Using Rancière’s ideas, I argue that the activity of the flâneur is absolutely political, on the proviso that the politics of works of art is understood as playing itself out "in the reconfiguration of worlds of experience...in the way in which modes of narration and new forms of visibility established by artistic practices enter into politics’ own field of aesthetic possibilities."

In order to elaborate upon how a cinematic flâneur performs this “reconfiguration of worlds of experience”, I will consider some moments in 'News from Home' in order to elaborate on how a flâneur is capable of reconfiguring existing environments – both through Akerman’s use of her own everyday, and the everyday activity of the urban population and landscape. In so doing, I wish to promote the possibility of the flâneur as – rather than Walter Benjamin's bygone figure, or contemporary panoptical readings – something more akin to what Rancière calls “missionaries of utopia”. This is the term he uses to refer to certain artists, whose aim is to focus on unaccounted-for populations. Their work is political because it casts light on an anonymous element, thus furthering the scope of those who warrant a voice: what Rancière terms a recasting of the 'distribution of the sensible'.

In this Master's thesis I have reconsidered the fairly recent concept of cyberflânerie, which has been approached predominantly as a mere metaphorical construct to this day. By taking a closer look at a group of cyberflâneurs, which owes its existence in all essential respects to the traditional lifestyle of the so-called flâneurs, I demonstrated how both reflexivity on the 'current' state of affairs and the desire to explore what the world has to offer - which were important features of their daily strolling routine-- have been having various important social implications for (the majority of) the group of individuals that I studied, ultimately, mainly in terms of their agency, which has been partially subject to empowerment processes. The wide-ranging nature of the research methods I applied made me a cyberflâneur myself for a while. I relied on content analysis, participant observation and in-depth, semi-structured, virtual interviews. Especially the last mentioned approach is quite unique, as it is still a relatively unknown area within the field of research methodology. My findings suggested that my respondents applied their predominantly open-minded worldviews --which had a postmaterialist underpinning-- most often to articulate their desire to be self-expressive, and found an outlet for that on Second Life. Against my expectation, I did not find a trickle-down effect of cyberflânerie to occur among my respondents in their interaction with others: processes in which cyberflânerie would be mimicked by like-minded strollers were quite absent. Rather, it was the platform as a whole that served as a socio-cultural resource for most of my respondents. Nonetheless, at the same time not everyone was equally 'affected' by their use of the program. Recent users and the more established users differed in their meaning making process and their reliance on the use of Second Life. Most respondents relied on a certain amount of playfulness with both their own identities and their surroundings. In doing so, for some cyberflânerie had therapeutical value, whereas for others it would be a means to hold on to phantasmagorical desires and thus had a slightly escapist connotation. On a few occasions these 'gains' were incorporated in various forms of artistry. In their desire to live and to comply with postmaterialist values, those attitudes were oftentimes brought into being through a somewhat individualistic approach and often took place as solitary enjoyment, which all contributed into their efforts of finding a satisfactory, 'personal meaningful quest'. Still, there were a few excluding elements inherent to the platform Second Life itself that delimited one's chance to participate in cyberflânerie to the fullest: necessary (niche) knowledge about technological matters and the insuperable reliance on the material realm were clearly constraining factors.

Entre las teorías estéticas que produjo nuestro siglo destaca de manera singular la obra fragmentaria de Walter Benjamín cuyo complejo y enigmático pensamiento hoy en día es objeto de numerosos estudios e invita a continuas reflexiones. Por su proyección en el tiempo, por la amplitud de su propuesta crítica, por lo original de sus intuiciones y de la integración de modos diversos de aproximación a la literatura y a la historia, al arte y a la vida, al hombre y a su tiempo, este filósofo y crítico literario resulta tan inclasificable como incomparable. Su nombre se asocia generalmente al de "la peculiar versión del marxismo denominada escuela de Frankfurt" que surge en 1932 en Alemania (durante el ascenso del movimiento nazi) como un proyecto de investiga-dores procedentes de diferentes disciplinas con el fin de crear una teoría crítica de la crisis social y cultural del mundo contemporáneo y proponer las bases para una praxis política.

Un homme marche dans les rues de Paris, seul et sans but. Il parcourt les longues avenues aux immeubles majestueux, il se perd dans la foule des Grands Magasins. Enveloppé dans son manteau noir, il erre dans la ville sans répit. Mais que cherche-t-il ? Où va-t-il ?

Ce livre enseigne à se perdre dans la ville : il contient des récits de promenades et d’aventures urbaines, des histoires de dandys et de flâneurs… Il évoque les personnages, les auteurs et les artistes qui ont erré dans les rues de Paris. En lisant ces pages, vous découvrirez les secrets de la flânerie, l’art noble de vagabonder sans destination.



Federico Castigliano, Docteur en Littératures Comparées (Université de Turin), est Maître de conférences en Italien. Après avoir travaillé plusieurs années en France, il enseigne actuellement à l’Université d’Études Internationales de Pékin. Ses écrits sont centrés sur le rapport entre individu et espaces urbains et mêlent l’essai à la narration, en explorant les possibilités de la ville d’aujourd’hui.

The flâneur became a literary figure of 19 th century Paris and was taken up as a theoretical figure in the early 20 th century. During these periods the city was undergoing massive social, architectural and infrastructural change. Today, the notion of the flâneur is experiencing a renaissance as cities are undergoing significant restructuring towards creative industries and economies.

At the same time, two distinctive aspects of the theory of the flâneur are facing critique. One is to do with geography. The theory is based on cities of the global north, such as Paris, London and New York, and thus inherently entwined with the colonial metropole. The other aspect concerns gender. The flâneur invokes a masculine gaze, and the possibility of a female flâneuse remains under debate.

The current century has been witness to the rapid growth of cities, including in the tropics and Asia. This literature review – in the style of a perambulation – explores flânerie with examples of tropical Asian cities. Singapore is of special interest as it strives to become a 'renaissance city' – a global city of the arts, based on creative industries and economies. As a theory and method of critically meandering the creative city, flânerie offers a way of engaging and contributing to an ethnography of urban life. Furthermore, such a method may usefully rework the notion of the gaze of the flâneur to include the use of photography.

Nel romanzo storico dell’Ottocento il badaud è più di una figura letteraria. È metafora di un ceto popolare, di una massa urbana, di una folla indistinta che, in un frangente in cui si formano o si consolidano gli stati nazionali europei, non ha ancora acquisito piena coscienza del proprio ruolo storico. È metafora di un cittadino che si limita a guardare gli avvenimenti epocali che segnano il suo destino, o che reagisce ad essi istintivamente, senza comprenderli sul piano morale e intellettuale. Per supportare questa tesi, l’autore dell’articolo analizza alcune opere di Walter Scott, Victor Hugo e Alessandro Manzoni – in rappresentanza, rispettivamente, del romanzo storico inglese, francese e italiano – avvalendosi degli strumenti teorici elaborati da György Lukács.

Esta tese tem como objeto de pesquisa videogames que têm uma cidade audiovisual como tema principal de sua construção. Tratam-se de ambiências constituídas por imagens audiovisuais com montagens temporais e espaciais (MANOVICH, 2014; WALTHER, 2004; JÄRVINEN, 2002) que se atualizam (BERGSON, 2006) de forma lúdica entre softwares, hardwares e jogadores. A cidade-jogo é pensada aqui como um virtual (BERGSON, 2006) que se atualiza em diversas mídias audiovisuais como o cinema, a TV e o videogame, entre outros. A cidade audiovisual dos videogames é a cidade-jogo atualizada em videogames, imagens técnicas (FLUSSER, 1985) que dão a ver a tecnocultura (FISCHER; KILPP, 2013; 2015) na qual emergem. O corpus no que observamos a cidade-jogo está constituído por duas cidades em videogames: Columbia (Bioshock Infinite, 2013) e Paris (Assassin’s Creed: Unity, 2014). Estas, são experiências de mundo cujo percurso detido, suas propostas de andar pelo jogo perdendo tempo em tempos perdidos ou se instalando entre a multidão aparentemente sem fazer nada para perceber mais profundamente a cidade revelam um design, um mundo programado por números (FLUSSER, 2017) com valores estéticos e políticos específicos: nos ensinar a calcular percebendo a natureza numérica do mundo. A metodologia que acompanhou todo o processo de construção de conhecimento foi a flânerie (BENJAMIN, 2006; CANEVACCI, 1993) mostrando-se eficaz para achar diversos produtos audiovisuais nos que a cidade tem um espaço central, assim como para andar incansavelmente entre os videogames escolhidos e definir o corpus. Ainda a flânerie foi fundamental para andar pelas cidades, o que nos levou a escolher determinados espaços-tempos em que a cidade-jogo se atualiza mais intensamente e perceber as dinâmicas centrais deste devir. As constelações (BENJAMIN, 2006; MONTAÑO, 2015) nos ajudaram a explorar a relação entre as ideias e as coisas (cidades audiovisuais) construindo quatro ideias centrais que se tornam dinâmicas operativas da cidade-jogo e de qualquer outra cidade atualizada. Trata-se das audiovisualidades como princípio de montagem: toda cidade é audiovisual porque está constantemente sendo remontada entre imagens técnicas, avatares e jogadores. Por outro lado, a dinâmica do tempo profundo própria das mídias e sua tecnocultura nos leva a afirmar que toda cidade tem tempos soterrados (ZIELINSKI, 2006; PARIKKA, 2017; REINHARD, 2018), múltiplos, simultâneos, ucrônicos (COUCHOT, 2003). Afirmamos aqui também que toda cidade é midiática, pensando a mídia como extensões do humano (MCLUHAN, 1969). Estas extensões criam novos ambientes, usos e apropriações. Ainda percebemos que toda cidade é planejada ou programada por números (FLUSSER, 2017), uma cidade-cálculo que ao jogá-la nos ensina a perceber que há inúmeras cidades sendo projetadas tendo cada uma sua particularidade. Essas quatro dinâmicas da cidade-jogo se entrelaçam o tempo inteiro e se atualizam em qualquer cidade audiovisual, em qualquer cidade.

Come insegna Charles Baudelaire, camminare e passeggiare non sono esattamente la stessa cosa. Passeggiare è un’arte raffinata che richiede abilità e impegno. Un’arte che il flâneur parigino del XIX secolo praticava nel clima delle grandi rivoluzioni che hanno sconvolto la Francia e l’Europa intera. In questo libro, la flânerie e il suo ambiguo rapporto con insurrezioni e sommosse, barricate del popolo e cariche dei gendarmi, diventano oggetto di indagine della sociologia e della storia delle idee.

This paper revolves around a series of media art projects that present creative uses of technological errors and glitches in order to subvert the logic, processes and aesthetics of digital mapping technologies. The first scope of this paper is to frame these projects as strategies of counter-mapping adopted in response to the rise of mapping technologies such as Google Maps, Google Street View and Google Earth. The second scope is to describe the subjects behind counter-mapping strategies as media-flâneurs and media-flâneuses: experimental practitioners of new forms of networked wandering. Finally, the third scope is that of sketching the image of the map as dispositif: an ever-changing net of subjects and objects, articulated across different spaces and media, constituting the background of any counter-mapping practice.

Using as a prism the symbiosis between flânerie and the consumption and production of popular culture, this article reconstructs the intellectual history of Jakarta’s encounter with economic modernisation under Indonesia’s New Order (1966–98). By analysing the life of novelist Teguh Esha (b. 1947) and his Ali Topan trilogy, the article highlights the popularly held ideas that mirrored and modulated Jakarta’s experience of New Order modernisation. These ideas suggest that, as a way of life and a system of government, the New Order failed to produce a modernity where people could feel at home. What it summoned into being in Jakarta was a modernity with “flies in the ointment”, such as social alienation, an overpowering sense of homelessness, unbridled corruption, general moral collapse and prostitution in various professions. Rejecting the New Order’s pragmatic modernism, a section of the city’s urban youth put together and practised ideological modernism, which manifested itself in Islamic revival, Muslim pop and heterodox Islam.

KEYWORDS: Flâneur,  flânerie , popular culture, popular fiction, urban modernity, Jakarta, New Order Indonesia, Teguh Esha, intellectual history

Au détour de l’habitude est un recueil de fragments soutenu par une démarche d’écrivain flâneur, qui se décline dans la pratique quotidienne d’espaces urbains et dans l’assemblage du texte même. Sont principalement donnés à lire, à travers le regard d’un Montréalais d’adoption accompagné de sa complice de vie, des espaces et des visages du quartier Hochelaga-Maisonneuve. Les trente-trois regroupements, formés de deux à cinq fragments selon le cas, répondent à un souci de cohésion plus que de cohérence. Y sont recherchés, par le montage textuel, des rapports de force qui permettent de saisir différentes atmosphères urbaines et des instants de présence à soi dans l’espace montréalais – qui, lui, s’étire jusque dans la ville d’origine, ici nommée le bled.

Éléments pour un devenir-flâneur propose une réflexion, sur le mode fragmentaire, divisé en trois sections. « Au cœur de la ville sensible » se penche sur la ville comme objet dynamique, labyrinthe et hyperville; cela nécessitant un mode relationnel tout aussi dynamique qui s’effectue par la recherche de collages. La section suivante, intitulée « De l’usage de la note de terrain », se penche sur le caractère essentiel de la prise de notes (textuelle ou photographique) dans le travail de l’écrivain flâneur; au-delà d’un outil mnémotechnique, la note dite de terrain est ici présentée comme première articulation entre l’espace et la pensée. La troisième section, « Montage – texte – assemblage », s’attarde sur l’écriture du fragment comme processus de sédimentation des perceptions et sur l’assemblage textuel comme moyen de prolonger la relation avec la ville. Le fragment, dans ce contexte, permet au flâneur de produire un temps qui lui est propre ainsi qu’un espace d’oubli, rendant ainsi possible la redécouverte constante de l’espace urbain.

«Τα σύγχρονα ερείπια δηλώνουν συγχρόνως τη μεγαλύτερη ελευθερία του ατόμου (ελευθερία από κάθε κυρίαρχο αφήγημα «εθνικού» τύπου) και συνάμα την αυξανόμενη μόνωσή του – έναν μετεωρισμό ανάμεσα στην ελευθερία και τη μοναξιά. Η εμπειρία αυτή είναι νεοελληνική μόνον συμπτωματικά – νομίζω πως έχει μια οικουμενική διάσταση, γιατί είναι κατεξοχήν νεωτερική. Η αστική περιπλάνηση φανερώνει τότε μιαν Ελλάδα δίχως ενιαία παράδοση, έναν τόπο θρυμματισμένων παραδόσεων, ένα συνονθύλευμα από σύγχρονα θραύσματα κάθε λογής (ιδεών και πολεοδομικών όγκων), τα οποία κάποτε δεν σχετίζονται διόλου με τα αρχαία ερείπια, παρά μόνον ως ζωντανή παρωδία (για παράδειγμα, θα έχετε δει κάτι γύψινα αγαλματίδια λεόντων, κύκνων και Ποσειδώνων που τοποθετούνται σε αυλές και εξώθυρες). Οπωσδήποτε, κι η αρχαιότητα φτάνει ως εμάς με μορφή θραυσματική, ωστόσο αυτή κατάφερε να εισέλθει σε μια σφαίρα ανιστορική κι εγκυκλοπαιδική, και γι’ αυτό πιο αναιμική, ενώ τα σύγχρονα τρίμματα είναι ζωντανά, μας ζητούν εδώ και τώρα μιαν αγάπη που δεν αξίζουν, κι ούτε δικαιολογούν. Δεν γνωρίζω αν τελικά και ο κοινοβουλευτισμός ακόμη –και η φιλελεύθερη δημοκρατία– συνιστούν πια έναν σύγχρονο ερειπιώνα στην Ελλάδα· αν η ελληνική αστική τάξη του δεκάτου ενάτου αιώνα διαλύθηκε στον γνόφο της ιστορίας τόσο εύκολα, όσο αφανίστηκαν ή ερήμωσαν τα νεοκλασικά στον πολεοδομικό αχταρμά των ελληνικών πόλεων. Ωστόσο, είναι παράξενη σύμπτωση η ταχύτατη αποσάθρωση σημείων αναφοράς και σύγχρονων πόλεων, την οποία διαπιστώνουμε αρκετοί πλάνητες των οδών και των ιδεών σε αυτή τη χώρα. Άραγε, ο πολλαπλασιασμός των θραυσμάτων σημαίνει πως κάτι πεθαίνει, ή πως κάτι γεννιέται;»

Cet article propose de contribuer à la géopoétique urbaine en mettant en relation la littérature avec la géographie, qui s'est inspirée des propos de Heidegger pour repenser la question de l'habiter (Berque, Biase et Bonnin; Roux). Dans le champ trandisciplinaire que constitue la géopoétique, il complète les questionnements amorcés auparavant au sujet de la fabrique de la ville (architecture, urbanisme), de sa représentation chez certains poètes, et de certaines pratiques singulières comme la flânerie ou les expérimentations artistiques (Amar, Bouvet & Loubes). Il présente dans un premier temps une conception dynamique de l'habiter, incluant la mobilité (Amar, Stock) comme dimension intrinsèque de la relation de l'être au monde (Lazzarotti). Dans un deuxième temps, la dynamique des flâneries organisées par La Traversée (Atelier de géopoétique) dans l'espace montréalais et présentées sur des blogues est analysée en fonction de la tension entre le lieu (orienté, désigné, assigné), le territoire (traversé) et le monde (synthèse des lieux et territoires). Dans un troisième temps, la notion de signature géographique (Lazzarotti) sert à observer comment la marche à travers la ville crée un réseau dynamique dans l'espace géographique et de quelle manière elle y ajoute des espaces à habiter autant par l'écriture (Carpentier) que par la lecture. Mots-clés: géopoétique urbaine; habiter; dynamique des flâneries; littérature et géographie; signature géographique. Abstract: The aim of this article is to contribute to urban geopoetics by putting together literature and geography, which was inspired by Heigegger's words in order to rethink the notion of dwelling (Berque, Biase et Bonnin; Roux). In the transdisciplinary field that is geopoetics, this article extends the initiated reflection about construction of the city (architecture, urban planning), its image among some poets, as well as singular practices such as walking (flânerie) or artistic experiments (Amar, Bouvet & Loubes). Firstly, it presents a dynamic conception of dwelling, including mobility (Amar, Stock) as an intrinsic dimension of being-in-the-world (Lazzarotti). Secondly, the dynamics of walking-as organised by La Traversée (geopoetics workshop) in Montreal's area, and as presented on blogs – is analysed in relation to the tension between the location (oriented, designated, assigned), the territory (crossed) and the world (joining locations and territories). Thirdly, the notion of geopgraphic signature (Lazzarotti) is used to observe how walking across the city creates a dynamic network in the geographic space, and how it adds inhabitable spaces by writing (Carpentier) as much as by reading.

Luisa Antonitsch Mansilha Mello & Ana Paula Pereira da Gama Alves Ribeiro

[Artigo publicado na Revista Estudos Feministas, Florianópolis, 29(1): e67152, em 2021, tradução]

Abstract: This paper reflects on women's circulation in cities. Understanding that paths and experiences differ in various large cities of the world, we researched these female wanderings considering issues of race and class. We examine the concept of the flâneuse, a woman who wanders along routes through a city while reflecting and creating along the way, to understand the relation between women and city streets, and how mechanisms of resistance emerge in this relationship, by considering it in the scope of the metropolitan region of Rio de Janeiro and its specificities.

Keywords: Women; Cities; Flâneuse; Ethnography; Urban wandering.

In.: https://periodicos.ufsc.br/index.php/ref/article/view/67152

This research paper is going to revolve around Paul Auster’s urban dystopia entitled In the Country of Last Things. Yet, my claim is that the novel may also be categorised as an American city novel in which a flâneuristic account plays a significant role. The focal point of the paper is going to be the comparison between the Austerian figure of the urban stroller with a traditional one as developed in the 19th century Paris. Since there have been numerous transformations and reformulations regarding literary representations of the city walker, I shall examine the protagonist Anna Blume in reference to features characteristic of a traditional, 19th-century urban stroller. Some theorists claim that women cannot be regarded as city walkers; nevertheless, the aim of the research paper is to prove that Anna, although a female character, can be considered as a postmodern variation of the flâneur.

Auster’s fictional world might be compared to Lewis Mumford’s “theater of social action” where the inhabitants’ quotidian drama is staged. This urban theater functions A fertile ground for city walker’s observations, investigations, as well as subsequent artistic productions. A traditional flâneur is characterised as an aimless stroller for whom the very act of the ‘inspection’ of the crowd is a source of leisure. However, his desire is not only to experience the surroundings, but also to observe the physical construction of the city as well as its social dimension – the people around. Taking into consideration the very specificity of the flâneuristic figure, Anna Blume, despite representing the female part of society, can be regarded as a postmodern urban stroller since her only means of discovering and ‘learning’ the space is by walking in the city. Hence, the character created by Auster both diverges from the conventional image of the city walker in terms of characteristic features andis consistent with it when the scope of the flâneur’s activities is considered.

Mimar, bir tasarımcı, bir eylemci, bir analizci, bir sosyolog olma kimlikleri arasında kentte gezinirken düşünme ve pratik etmenin birbirine yakınlaştığı ya da uzaklaştığı alanlarda kendi rolünü tekrar belirler. İkincil mimarlık, kent gibi çok kez tasarlanmış bir anlamlar ve yapılar sistemine mimarın tekrar dahil olabilmesini sorgulamaktadır. Bu süreçte genel yaklaşım giriş bölümünde anlatılmıştır. Daha sonra dahil olunacak bu alan, kültür ve kentte gezinmek başlıkları altında gündelik pratiklere ve gözlemlere referans vererek mimarın rolü ekseninde tanımlanmıştır. Eleştirel üretim başlığında, çeşitli yazarların eleştirellik yaklaşımları ikincil mimarlık ekseninde tekrar açılmış, örnekler incelenmiştir.

Anahtar Kelimeler: İkincil mimarlık, eleştirel pratik, kültür endüstrisi, kent

Questo articolo prende in esame il ruolo politico del “perdigiorno” – o “badaud” – nella letteratura francese del XIX secolo. Il badaud è stato variamente descritto come una persona che guarda con stupore e meraviglia, un ozioso credulone e chiacchierone, un cittadino dedito all’oziosa osservazione di qualsiasi cosa. Nonostante questa figura sociale non sia politicamente impegnata, mostreremo che essa è in qualche modo coinvolta nelle molte sommosse e insurrezioni che sconvolgono Parigi tra la Rivoluzione Francese del 1789 e la Terza Repubblica del 1870. Per descrivere e analizzare le modalità di questo coinvolgimento, esamineremo e metteremo a confronto tre opere appartenenti a tre differenti generi letterari: Physiologie du flaneur di Louis Huart (1841), Les misérables di Victor Hugo (1862) e Psychologie des foules di Gustave Le Bon (1895).

El presente ensayo propone una lectura semiótica de la obra "En la ciudad he perdido una novela..." del escritor ecuatoriano Humberto Salvador, atrevido texto-umbral entre deshumanización total y problemática rehumanización de la narrativa iberoamericana de vanguardia, y reescritura paródica de lanovela "Débora" (1927) del coterráneo Pablo Palacio. En particular, se hace hincapié en la mirada crítica del autor hacia las categorías de representación y desrealización de la realidad en la novela vanguardista, de momento que el texto, entre otras cosas, pone en escena la metáfora de la crisis del arte deshumanizado.

Während eine Handlung in Medien wie Büchern oder Filmen in der Regel linear abläuft und sich auf die durch das mediale Dispositiv eingegrenzten Rahmen beschränkt, bietet das Computerspiel im Gegensatz dazu einen offeneren Raumzugang, der vor allem auf dem Prinzip der Exploration beruht. Neben den offensichtlichen Primärzielen eines Spiels kann der Spieler auch einen kontemplativen Ansatz verfolgen, um reflexive Elemente zu entdecken. Dabei zeigt sich besonders in einigen aktuellen Spielen, deren ludischer Aufbau eigentlich nicht für eine flanierende Exploration ausgelegt ist, ein diskursiver Mehrwert, der über die primären Unterhaltungswerte des Spiels hinausgehen kann. Dieser Beitrag soll das Konzept dieser digitalen Flanerie und deren Bedeutung für die mediale Rezeption anhand des Spiels Wolfenstein: The New Order erläutern.

Peter, Clarissa, Richard, Septimus or the mysterious passante, all wait or hesitate to cross streets, they walk across London, cross parks and rooms, meeting friends or anonyms on their way. They move forward, reach beyond, stop and go, move by fits and starts, tracing paths that converge or branch out. Their thought process and body motion merge in streams of consciousness that map out a day of June in London. Both thematically and structurally, Virginia Woolf’s Mrs Dalloway is built on a crossroads dynamic.

I will consider this peripatetic novel as “a meeting place of dissemblables”, as the meeting place of text and moving images. Following Regis Debray’s mediological approach, I will analyse the modernist text through the relationship between literature and cinematic aesthetics. I will see how from actual images (turn-of-the-century film techniques) Woolf creates virtual images (kinetic prose), which are eventually turned into mental images through the act of reading (reader’s mind’s eye). Woolf explores in-betweeness, and the connection between text and movement-images helps her ponder over the creative acts of writing and reading, and over the building of the Self (identity, experience, memory). I will see in what ways Mrs Dalloway takes its shape between thoughts and movement, space and time, action and memory, words and images.

Mexico City's urban development, oriented to car infrastructure, has contributed to the degradation of public spaces and neighborhood segregation, making walking difficult and limiting people's access to the city's resources. In this context, pedestrians have developed a particular behavior to navigate public spaces and bypass the norm, which has led them to be qualified as "irresponsible". This behavior adopted by pedestrians tells us about the spatial configuration of the city, the quality of public spaces and the nature of both urban planning and road safety policies. The pedestrian is the product of an environment that denies the existence of the flâneur and requires constant adaptations from those on foot. In this paper, we seek to establish a dialogue between the image of the flâneur and the pedestrian's practices in Mexico City, underlining the gap between the ideal definition of the former and the daily reality of the latter. Whereas the flâneur embodies a city that enables social and sensorial relationships, the pedestrian is an expression of the denial of the right to the city.

El desarrollo urbano de la ciudad de México orientado a la construcción de infraestructura vial, ha contribuido al deterioro del espacio público y a la división de las colonias, dificultando la movilidad a pie y obstaculizando el acceso a los recursos de la ciudad. En este contexto, el peatón ha desarrollado una forma particular de comportarse en el espacio urbano y de desviar la norma, que ha conllevado a calificar su conducta de “irresponsable”. La actitud adoptada por el peatón nos habla de la configuración espacial de la ciudad, la calidad de sus espacios públicos y la naturaleza de las políticas de planeación urbana y de seguridad. El peatón es el producto de un entorno que niega la existencia del paseante y exige del que camina adaptaciones constantes. En este artículo, buscamos establecer un diálogo entre la figura del flâneur (paseante) y las prácticas del peatón en la ciudad de México, poniendo de manifiesto la distancia entre la definición ideal-típica del primero y la realidad cotidiana del segundo. Mientras que el paseante encarna una ciudad que permite la creación de vínculos sociales y sensoriales, el peatón es una expresión de la negación del derecho a la ciudad.

flâneur que pontuava as descrições socioliterárias sobre o cenário urbano da urbanidade. Entre elas destacam-se as considerações e experiências de Franz Hessel e as interpretações de Walter Benjamin. Se se pode admitir que a flânerie encontra em Simmel as suas primeiras formulações, contudo, a condição de flâneur não tem deixado de alimentar a reflexão de outros comentadores acerca da cidade contemporânea. Podemos por isso interrogar-nos sobre a atualidade do flâneur e da flânerie nas cidades de hoje. Mas também não pode descartar-se a hipótese do seu total desaparecimento e a sua não existência no presente. OPÇÃO A) Que expressões pode revestir hoje a flânerie? Ou, por outras palavras, que exemplos podemos pensar da flânerie dos nossos dias? Argumente em torno de duas situações que a seu ver são exemplos da flânerie de hoje.

Ob sie ihrer Arbeit oder einem anderen Erledigungsdrang nachgeht – zumeist zeugen die entschlossenen Schritte der mobilen Frau auf den Straßen moderner Metropolen von der Anständigkeit ihres Ziels. Doch hält sie nicht genau und erst recht nicht immer an ihrem Kurs fest.
Wo zieht es die mobile Frau hin, wenn sie, vom routinierten Weg abschweifend und oft in geradezu exzentrischer Selbstvergessenheit, die großstädtischen Eindrücke auf sich einströmen lässt? Wo weilt sie, wenn sie keinem bürgerlichen Zwang entgegenschreitet? Welche Bilder unsittlicher Weiblichkeit lässt sie entstehen – und wie unterscheidet sich die Flaneurin vom Flaneur? Diesen und anderen Fragen nachgehend, zielen die Beiträge des Bandes darauf ab, die flanierende Frau durch einschlägige Literatur- und Filmsichtungen als eigenen Wahrnehmungstopos der Moderne zu entdecken.

Τόπος της νεωτερικής περιπλάνησης που περιγράφει ο Βάλτερ Μπένγιαμιν είναι οι σκεπαστές στοές (Passagen) και οι δρόμοι των σύγχρονών του ευρωπαϊκών μεγαλουπόλεων: Ρώμη, Βερολίνο, και βεβαίως Παρίσι. Τόπος της περιπλάνησης του Κυριακού είναι κατά κύριο λόγο τα ερείπια πόλεων νεκρών, μισοχωμένων στην γη και στην λήθη. Στην πρώτη περίπτωση έχουμε μια περιπλάνηση στην πόλη που σφύζει από ζωή˙ στην δεύτερη περίπτωση έχουμε μια περιπλάνηση στην πόλη που έχει πεθάνει. Όμως ο πλάνης στην ζώσα είτε θανούσα πόλη έλκεται από το ίδιο σημείο αναφοράς: την ψυχική συνάντηση με εικόνες αποσπασματικές και εντυπώσεις θραυσματικές ενός όποιου αρχιτεκτονικού περιβάλλοντος, σύγχρονου στην μια εκδοχή, αρχαίου στην άλλη. Σε αμφότερες περιπτώσεις η συλλογή οπτικών ερεθισμάτων πυροδοτεί διάθεση ηρωικής μελαγχολίας
(ο Μπένγιαμιν οικειοποείται την έκφραση του Μελάγχθονα melancolia illa heroica) και spleen, διάθεση αναστοχασμού, ενδοσκόπησης και ονειροπόλησης που εξαίφνης παρεμβαίνει στον συμβατικό ρου της καθημερινότητας.

Resumo As experiências da flânerie na Paris do século XIX influenciaram o trabalho intelectual para além da França. No campo do jornalismo, contribuíram para o fortalecimento de um novo gênero, a reportagem. Este artigo se propõe a refletir sobre as contribuições desta atividade na narrativa da repórter Neide Duarte, símbolo de resistência no jornalismo comprometido em dar visibilidade para o ordinário-ou o que seria considerado "comum", no sentido do banal das ruas. Entendo como a associação da jornalista com a figura do flâneur se reflete no exercício do olhar benjaminiano, caracterizado em reportagens capazes de promover a reflexão com base no caminhar pelas ruas. A partir de conceitos desenvolvidos por Walter Benjamin e da entrevista concedida pela jornalista à autora, buscamos traçar aproximações entre a flânerie e a reportagem enquanto gênero jornalístico surgido no século XIX. Palavras-chave Reportagem; flânerie; flâneur; Neide Duarte. "A rua não pode ser desprezada!" As andanças e a observação permanente habitam sua rotina e seu próprio eu. Na busca por novas percepções, permite-se descortinar outros olhares e vivências nas atividades mais rotineiras. Como quando descreve um episódio vivido no dia anterior, um indício para entender as práticas e o modo como faz jornalismo: Enquanto caminhava na rua onde sua mãe reside, deparou-se com galhos de uma tipuana, árvore exótica trazida de Paris para São Paulo no início do século passado. Eles deixavam à mostra a seiva avermelhada, pareciam sangrar. Talvez, por estar lendo o livro A vida secreta das árvores 3 , a cena lhe absorveu ainda mais. Não hesitou em fotografar a agressão e publicar a imagem no seu perfil no Instagram, com a legenda: "Cortaram a tipuana, minha vizinha". É assim, com foco nas particularidades do cotidiano e disposição para viver as 1 Trabalho apresentado no GP Gêneros Jornalísticos, XVII Encontro dos Grupos de Pesquisas em Comunicação, evento componente do 40º Congresso Brasileiro de Ciências da Comunicação.

Rosalba Maletta, A Milano con Benjamin. Soglie ipermoderne tra flânerie e time-lapse (1912-2015), Mimesis 2015 Il passato porta con sé un indice segreto che rinvia alla redenzione. Non sfiora forse anche noi uno spiraglio dell'aria che è stata attorno a chi ci ha preceduto? Non vi è, nelle voci cui prestiamo ascolto, un'eco di quelle che ora tacciono? Le donne che corteggiamo non hanno forse sorelle da loro mai conosciute? Se è così, allora v'è un appuntamento segreto tra le generazioni che sono state e la nostra. Allora siamo stati attesi sulla Terra. Allora a noi, come a ogni generazione che ci ha preceduto, è stata data una debole forza messianica che il passato ha rivendicato. Questa rivendicazione non è a buon prezzo. Il materialista storico lo sa. Walter Benjamin, Thesen über den Begriff der Geschichte, in Gesammelte Werke I, 2, p. 693.

Mateos de Manuel, Victoria (2018) "The gaze of the flâneuse: a feminist reading of the act of wandering", 10th European Feminist Research Conference "Difference, Diversity, Diffraction: Confronting Hegemonies and Dispossession" (September 12th-15th), Georg August Universität Göttingen.

Se adjunta el libro de resúmenes del congreso, editado por Göttingen Diversity Research Institute, y disponible de manera online en el siguiente link: https://www.fg-gender.de/wp-content/uploads/2018/09/Programm_UGoe_10th_EFRC_18094_web.pdf

This article focuses on the concept of flâneur, which had largely emerged from the works of Baudelaire and Walter Benjamin, and attempts to reveal the level that this concept has echoed through the contemporary period. Flâneur is accepted as a teaching metaphor on the point of modernity' s relationship with urban living; therefore, it can serve the function of a tool in the social, historical, and theoretical explanations regarding the world today. Studies revolving around flaneur have been published in a wide variety of fields. This study will discuss flâneur over "strolling", "viewing", and "producing", which come at the top of the elements of city life that are as inevitable as much as they are also changing and transforming. Discussion around flaneur that will interest many of the social science disciplines and those working in these fields are examined in the context of the literature that has been developed.