Flaneuse

the distinction between a character’s emotions and the emotions
experienced by the reader is not evident. In many cases, typically when
reading horror stories, the two often merge into one another, and it is difficult
to know whether the reader is directly feeling fear or disgust or whether he
or she is perceiving the emotions of the character. The aim of my study is to
demonstrate that, despite such overlaps, it is possible to distinguish between
the two types of emotion. This is because two different psychological mechanisms
are at work in the processing of the emotion directly experienced and
the emotion portrayed, and different narrative strategies are also responsible
for eliciting them. First, I analyze the emotions experienced while reading a
literary narrative based on the appraisal theory of emotion and then show that
another cognitive system, the Theory of Mind, plays a key role in the processing
of the characters’ represented emotions. Finally, I want to demonstrate that
the above differentiation allows for a subtle distinction between horror stories
based on whether they directly evoke fear in their readers or appeal to the
reader’s Theory of Mind and focus on the fear of the character.

This study seeks to expand the established critical discussion regarding the presence of a flâneuse in the rapidly transforming Malaya during the flourishing days of the British Empire, as depicted in Chang Ling Yap's work, A Flash of Water (2015). Earlier discourse has explored the term flâneuse in Yap's fifth novel, positioning and making sense of her presence in the postcolonial Malaya modernity. Using flânerie as the method for literary analysis, Yap's protagonist assumes a distinct position in her life compared to the characters in Baudelaire's and Benjamin's works. Shao Peng defies the image of a degraded heroine who needs sympathy and embodies the allure of the flâneuse persona, delineating it throughout her journeys to the city and public realms, and transitions while dealing with issues in the novel. The critical approach highlights her urban experiences and closely examines how she explores her public realms through walking and observing. Customs and traditions are dealt with from the perspective of a flâneuse, linking accounts from daily life to her social engagement within the culture of the spectacle. This study finds that she is also breaking free from the confined roles traditionally associated with a flâneuse.

This paper delves into the complex layers of urban exploration through the lens of the flâneuse, as depicted in contemporary narratives that position women protagonists at the forefront of navigating and reshaping cityscapes. By analysing the unique contributions of Rachel Kushner's The Flamethrowers and Chimamanda Ngozi Adichie's Americanah, this study aims to illuminate the nuanced ways in which these narratives articulate the flâneuse's engagement with urban spaces. This engagement, we argue, provides a unique perspective on gender, mobility, and urban space, challenging traditional narratives and offering new insights into these complex and interconnected concepts. The Flamethrowers presents Reno, an artist and a motorcycle enthusiast, as she fearlessly navigates the tumultuous art scene of 1970s New York. The novel vividly captures her physical journey through the city and her metaphorical ride through the gendered landscapes of art and activism. Reno's use of the motorcycle, a symbol of speed and freedom, becomes a potent tool for challenging the spatial and symbolic constraints imposed on her. This narrative powerfully illustrates how mobility intertwines identity formation and resistance against gender norms. The city, portrayed as a character with its alleys and streets, serves as a canvas for Reno's quest for artistic and personal autonomy, positioning her as an observer and a creator of urban narratives. In contrast, Americanah offers a transatlantic perspective on urban exploration through Ifemelu, a Nigerian woman who deftly navigates both American and Nigerian cities. Ifemelu's experiences in these diverse urban settings underscore her dual role as an observer and a participant in the racial, social, and cultural dynamics that define these environments. In America, her walks are acts of self-definition against the backdrop of an alienating yet liberating urban space. In Nigeria, these walks resonate differently, reflecting the complexities of returning to a changed homeland where the cityscape is familiar and estranging. Adichie uses Ifemelu's movements through these cities to probe themes of displacement, belonging, and the transformative power of her unique observations. This paper will employ a comprehensive and interdisciplinary approach, integrating insights from feminist geography, urban sociology, and postcolonial studies to analyse how Kushner and Adichie frame the city as a space of conflict and possibility. The flâneuse, in these narratives, not only utilises the urban landscape as a site of negotiation and contestation but also her mobility allows her to confront and subvert the narratives imposed upon her by societal norms, thereby challenging the status quo. Moreover, the study will explore how these authors utilise narrative techniques such as stream of consciousness and shifts in narrative perspective to deepen our understanding of the flâneuse's interior and exterior worlds. These techniques underscore the protagonists' complex relationships with the cities they inhabit, highlighting how urban spaces influence their sense of identity and agency. In conclusion, this paper aims to contribute significantly to the edited collection by offering a contemporary reading of the flâneuse as an agent of change. Through Kushner and Adichie's narratives, we see the emergence of a figure who not only charts invisible paths but also inscribes new meanings onto the urban fabric, challenging the historical and cultural narratives that have traditionally marginalised women's experiences in the city. This analysis will underscore the relevance of the flâneuse in contemporary literature and urban studies, presenting her as a pivotal figure in discussions of gender, mobility, and urban space.

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.

Con el objetivo de determinar un marco conceptual y un posicionamiento teorético-procedimental sobre el significado y lo que conforma la investigación artística con relación a la práctica artística y su evaluación, este artículo presenta un contexto referencial y ofrece una serie de aportaciones con el propósito de contribuir al conocimiento de la investigación artística a fin de mejorar los procesos de evaluación y acreditación. Las argumentaciones se inician situando la génesis y legitimidad de la investigación artística para posteriormente centrarse en su delimitación conceptual, diferenciando la investigación dentro de la práctica de aquella que se da dentro del ámbito académico-científico; y seguidamente exponer las tres distintas categorías que la práctica artística puede ostentar respecto a la investigación, analizar las derivadas terminológicas, y examinar los parámetros para determinar el uso riguroso de la práctica en la investigación. A continuación, el debate se focaliza en la evaluación de la investigación artística dentro del marco de la reforma de la evaluación de la investigación que a nivel europeo se está implementando según los principios del acuerdo de 2022 de la Coalición Internacional para el Avance de la Evaluación en Investigación (CoARA, por sus siglas en inglés). Se presentan orientaciones y propuestas para incorporar criterios de evaluación ad hoc a la investigación artística bajo este nuevo paradigma.

In this paper I would like to extend the arguments I discussed in my first paper "In search of the “New Woman” in Swedish cinema: From Mauritz Stiller’s Erotikon to Mai Zetterling’s Flickorna". I will discuss Vilgot Sjöman’s films I am curious – Yellow from 1967 and I am curious – Blue from 1968. I am interested specifically in the character of Lena Nyman in the movies and how her presence as a female traveller or flaneur, out and about in the streets of Stockholm or in Småland, renders her part of the ‘cine-scape’, a space constructed for the voyeuristic male gaze. What I mean is that outside shots hardly exist without Lena in them whether doing activism, biking, or mostly having sex with her lover. In addition, I would like to ask: why are women wandering, elusive, non-integrating figures within the landscape of 1960s-1970s cinema? Women like Giuliana in Michelangelo Antonioni’s The Red Desert (1964) or Wanda in Barbara Loden’s Wanda (1970) wonder around in deserted landscapes in North Italy and Pennsylvania respectively unable to find a space of their own, a space where they are free from other people, from society at large. Lena, in both films, is not exactly portrayed in discomfort in her environment, however, despite her confidence, and, of course, curiosity, her presence within the cityscape or landscape reflects the impossibility perhaps of women’s flanerie, that is to navigate the streets or the environment unnoticed and undisturbed.

Doris Lessing has lived in London since she first arrived there in 1949, from Southern Rhodesia (now Zimbabwe). Lessing has always expressed her passion for the city of London, which has been turned into the setting for most of her novels and short stories. In addition, in her fictional and autobiographical texts the author reveals her love for theatregoing and play-acting, as well as her perception of life as a stage. This article strives to link these two ideas (the city and the theatre) in Lessing's recent fiction, which shows an increasing interest in the image of London as a theatre, whereby the female protagonist happens to become a spectator of snippets and sketches of real-life scenes, as she strolls around the city. In the act of observing these scenes from everyday life, these twentieth-century female flâneurs render London as a potential space, a space of creativity, where mutual bonds are established between the flâneuse/spectator and the performers. In this sense, psychoanalytic criticism-for example, the concept of transitional space as defined by D. W. Winnicott-will prove to be useful in the analysis of Lessing's fiction.

The paper propounds to discuss Paul Auster's The Music of Chance in reference to generic and spatial concerns. In its specificity, the novel may be regarded as belonging to American road fiction since it exhibits tenets of the genre, such as the protagonist's automotive journey through the country as a consequence of a personal crisis, or exploration of the possibilities offered by the road. However, some of the fundamental elements of the genre are redefined by the author. Particular emphasis is laid on issues such as identity, randomness, disorientation, or axiological transformations within the spatial dimension. Hence, by relying on the tradition of the American road story and, at the same time, engaging in a dialogue with it, Auster proves the postmodern character of the novel.

Anna María Iglesia presenta múltiples dimensiones de las flâneuses, mujeres que caminan la ciudad y la habitan desde prácticas diferenciadas: como transeúntes, minorías, objetos de miradas, trabajadoras sexuales, observadoras, habitantes, paseantes incómodas, transgresoras de las normatividades sociales y de género, escritoras, periodistas, pintoras, fotógrafas. Los espacios se viven de modo distinto según sea el género, la condición de clase, el grado de educación, de ahí que la ventana, la calle, el palco, la ópera o teatro, los jardines, los parques y el transporte tengan hondas diferencias de percepción y acción.

Doris Lessing has lived in London since she first arrived there in 1949, from Southern Rhodesia (now Zimbabwe). Lessing has always expressed her passion for the city of London, which has been turned into the setting for most of her novels and short stories. In addition, in her fictional and autobiographical texts the author reveals her love for theatregoing and play-acting, as well as her perception of life as a stage. This article strives to link these two ideas (the city and the theatre) in Lessing's recent fiction, which shows an increasing interest in the image of London as a theatre, whereby the female protagonist happens to become a spectator of snippets and sketches of real-life scenes, as she strolls around the city. In the act of observing these scenes from everyday life, these twentieth-century female flâneurs render London as a potential space, a space of creativity, where mutual bonds are established between the flâneuse/spectator and the performers. In this sense, psychoanalytic criticism-for example, the concept of transitional space as defined by D. W. Winnicott-will prove to be useful in the analysis of Lessing's fiction.

Denize baktığımda Louis Armstrong "What a Wonderful World" şarkısını söyler ve ben yeniden on bir yaşımda olurum. Denize atlamaktan, diplere dalmaktan yaz boyu geçmek bilmeyen bir kulak enfeksiyonu... Yeniden su kaçmasını önlemek için taktığım tıkaçlar her şeyi derinden duymama sebep olur. Bir çocuk havuza atlar, kuşlar uçar, manolya ağacının yanındaki adam eşiyle konuşur, bir uçak geçer. Hepsinin sesi uzaklardan gelir.

Bu çalışma 19. yüzyılda ortaya çıkan Charles Baudelaire'in 'Modern Hayatın Ressamı' ile Walter Benjamin'in 'Pasajlar' adlı yapıtlarının temel kavramlarından biri olan ve bir yaşam biçimini ifade eden 'Flaneur'lüğün izini sürmekte; teknolojinin gelişmesiyle birlikte ortaya çıkan yeni medya olanaklarındaki Flaneur yaşam biçiminin değişimini konu edinmektedir. Araştırmada 19. yüzyıl Avrupasında Sanayi Devrimi'nin yarattığı kent yaşamındaki insan profili olarak Flaneur'ün Henri de Toulouse-Lautrec'in çalışmalarındaki yansımaları ile teknik olanakların değişimiyle birlikte ortaya çıkan yeni medya alanlarındaki yansımalarının ne olduğu karşılaştırılarak saptanmaya çalışılmaktadır. Aynı zamanda araştırmada Flaneur'ün varlığının oluşması için bir zemin niteliğinde olan 19. yüzyıl Avrupasındaki kentin fantazmagorik yapısı ile günümüzde iletişim olanaklarının gelişimiyle birlikte ortaya çıkan yeni medya alanının arasındaki farklılıklar ve benzerlikler karşılaştırılmaktadır.

In literature on modern urban life, a flâneur is a man who wanders seemingly aimlessly but with the intention of observing people or events in urban life and perhaps recording these observations in text or images. This article shows how contemporary women artists in Hong Kong-a city in late capitalism, perform the role of the flâneuse, the female counterpart of the flâneur. The article analyses Stella Tang's series of paintings Sauntering Through My City Series (2009-2016) and Annie Wan's ceramic works Looking For Poetry in Wanchai (2005) and Collecting Moonlight (2017). The article takes a nomadic nondialectical approach to explore how the two women artists practise their flâneurie, and how they transform such experiences into art projects that are different from the conventional flâneur art. I identify three aspects of the alternative representation of urban space in the works of the two flâneuses: reconfiguration of conception, the creative appropriation of alternative art forms and public engagement.

Doris Lessing has lived in London since she first arrived there in 1949, from Southern Rhodesia (now Zimbabwe). Lessing has always expressed her passion for the city of London, which has been turned into the setting for most of her novels and short stories. In addition, in her fictional and autobiographical texts the author reveals her love for theatregoing and play-acting, as well as her perception of life as a stage. This article strives to link these two ideas (the city and the theatre) in Lessing's recent fiction, which shows an increasing interest in the image of London as a theatre, whereby the female protagonist happens to become a spectator of snippets and sketches of real-life scenes, as she strolls around the city. In the act of observing these scenes from everyday life, these twentieth-century female flâneurs render London as a potential space, a space of creativity, where mutual bonds are established between the flâneuse/spectator and the performers. In this sense, psychoanalytic criticism-for example, the concept of transitional space as defined by D. W. Winnicott-will prove to be useful in the analysis of Lessing's fiction.

‘Doors’ by Suzanne Hermanoczki—the AAWP/Westerly Life Writing Prize Winner

In 2022, the Australasian Association of Writing Programs (AAWP) and Westerly Magazine came together to offer our inaugural joint prize for Life Writing. This competition was open for writers at all stages of their journeys; both emerging and established authors were encouraged to enter.

In judging the prize, we considered Life Writing as a rumination upon memory and experience, and welcomed submissions of autobiography, biography, memoir and essay. We received a rich and brilliant catalogue of entries, making our task in reading difficult as well as enjoyable. We would, in this, like to offer our gratitude to all the writers who submitted—Life Writing is clearly thriving in Australia.

Ultimately, we selected Suzanne Hermanoczki as the winner with her delicate and intricate piece ‘Doors’. Her work reflects upon a holiday stay with family in Hungary, and is an intelligent and masterful consideration of portals, vision, and closings and openings.

We’re proud to now offer this piece here in publication online, recognising its timeliness and importance in reflecting on our world and the current conflict in Ukraine.

SITUATING GENDER IN BILJANA JOVANOVIĆ’S NOVEL PADA AVALA

In her first novel, "Pada Avala," Biljana Jovanović depicted the city of Belgrade - its urban center and the suburb areas - from the perspective of a female protagonist, young and rebellious Jelena Belovuk, who challenges the established correlation between space, body, and gender. Through Jelena’s everyday movements and interactions in public and private spaces, Jovanović points out her positioning in the codified and often oppressive urban environment. Jelena attempts to invert the power structures inscribed in the space, get around the imposed passive role, sexually objectifying gaze, and the authority that evaluates and excludes.
Marked as a mentally/physically deviant by the hegemonic discourses of masculinism, she is suppressed to the absolute periphery of the psychiatric hospital in Padinska Skela, only to repeat her mother’s narrative. Just as B. Jovanović indicates how mental illness comes as a consequence of depriving a woman of her voice and story, the protagonist’s urban mapping reads like a process of spatial demarcation and appropriation as an expression of the need for belonging.

In Why Architecture Matters, Paul Goldberger, an architecture critic for The New Yorker, defines what constitutes the best building designs and how architecture impacts society. As the title implies, Goldberger bestows great power on architecture to stimulate its onlookers, intellectually and emotionally. The building is the spectacle, the passerby a mere spectator, and therefore the building is paramount. In analyzing the text, one uncovers the Goldberger formula for great architecture as well as how city dwellers, or flaneurs, and users experience it. Though there are some significant inconsistencies in the book, which will be addressed at the end of this paper, there is a formula that forms the overall basis for Goldberger's theory-and he applies it to individual buildings, streets, and cities. Goldberger takes a certain level of Normalcy in buildings and cities as a given. By supplementing this architectural Normalcy with Difference, meaning some sort of innovation, it yields an Awakening of the flaneurs. The formula is also "anchored" by two key attributes: beauty and simultaneity. Though Goldberger maintains discussions about the meaning of architecture cannot be limited to aesthetics, he quotes Art Historian Joseph Connors as saying "Beauty has the power to disarm the raging barbarian" (28) and emphasizes form over function throughout the book. The second anchor refers to the requirement that the flaneur feel opposing forces, such as pleasure and serenity, order and novelty, and equilibrium and revelation, which to an extent coincide with Normalcy and Difference, simultaneously.

Doris Lessing has lived in London since she first arrived there in 1949, from Southern Rhodesia (now Zimbabwe). Lessing has always expressed her passion for the city of London, which has been turned into the setting for most of her novels and short stories. In addition, in her fictional and autobiographical texts the author reveals her love for theatregoing and play-acting, as well as her perception of life as a stage. This article strives to link these two ideas (the city and the theatre) in Lessing's recent fiction, which shows an increasing interest in the image of London as a theatre, whereby the female protagonist happens to become a spectator of snippets and sketches of real-life scenes, as she strolls around the city. In the act of observing these scenes from everyday life, these twentieth-century female flâneurs render London as a potential space, a space of creativity, where mutual bonds are established between the flâneuse/spectator and the performers. In this sense, psychoanalytic criticism-for example, the concept of transitional space as defined by D. W. Winnicott-will prove to be useful in the analysis of Lessing's fiction.

Book Preview for launch in October 2022. 

A culmination of poetry and paintings that were inspired by Mt. Tamalpais and Gary Snyder from a woman's point of view. This is the story of two poets in parallel lives: 1965 and 2015. Mt. Tam was sanctified in 1965 by poet Gary Snyder in a walking meditation, designating ten places for contemplation. At 'Inspiration Point' Goddess Tara was invoked to call in compassion and protection. She remained very present even in 2015, as Rosalinda retraced Snyder's footsteps.
How to follow this walking meditation? Snyder's original idea was to 'open the mountain' for others to follow and so he wrote a poem as a map. Over the years, he encouraged others to take their own walk, contemplate in their own way, and create their own art. No wonder Kerouac wrote Dharma Bums from his own reality on Mt. Tam.
Rosalinda's story reveals her female perception of She-Mountain Tamalpais as a daughter and sister of California's Nature. Surprisingly, Rosalinda began her walk on Mt. Tam as an avid Californian hiker of peaks, but emerged as a novice mesmerized by this slow walk around the mountain. Her poems and paintings are her only testimony to this mysterious space of endless new beginnings.
*At the end of the pdf, a link to a rare video clip of wildlife encounter.

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.

Tissue regeneration has become a promising strategy for repairing damaged skin tissues. Among the hydrogels for tissue regeneration applications, topical hydrogels have demonstrated great potential for use as 3D-scaffolds in the burn wound healing process. Currently, no report has been published specifically on icariin-loaded polyvinyl alcohol (PVA)/agar hydrogel on full-thickness burn wounds. In the present study, burn tissue regeneration based on biomimetic hydrogel scaffolds was used for repairing damaged extracellular matrix. Furthermore, a skin burn model was developed in rats, and the icariin-loaded PVA/agar hydrogels were implanted into the damaged portions. The regeneration of the damaged tissues with the help of the icariin-loaded hydrogel group exhibited new translucent skin tissues and repaired extracellular matrix, indicating that the hydrogel can enhance the wound healing process. Moreover, characterization studies such as X-ray diffraction, Fourier-transformed infrared...

The article underlines the connection between the flâneur, as described in Benjamin's studies, and the emblematic places of the modern consumer society centered on the symbolic value of the merchandise. First of all, the philosophical meaning of the word "phantasmagoria" will be clarified, analyzing its origin and use, particularly with reference to the Marxist critical tradition that goes from Adorno to the more recent works of Andreotti and Lahiji. The origins of the flâneur in nineteenth-century Paris will be investigated, emphasizing the relationship between the character of the walker in the metropolis and the literary tradition, the new aesthetics, and the lifestyle that defines modernity. Finally, in the central part of the essay, the stages that have marked the history of phantasmagoria will be examined, considering the technological evolution and the type of experiences offered to the consumer: the Parisian passages, the modern metropolis, the department stores, the world’s fair, the shopping malls, the theme parks, the "superplaces" and, finally, the spaces of the virtual architecture. In particular, the latest trends in experiential and omnichannel shopping will be highlighted to demonstrate the impact of media technology on the use of real and virtual consumer spaces. Therefore, the hypotheses I am trying to demonstrate are the following: 1. The historical continuity between 19th-century European modernity and the contemporary world. 2. The centrality of the flâneur in the urban scene, considered as an observer and user of the spectacle of the metropolis and the aesthetic experience it offers. 3. The importance of shopping as a ritual, an activity that seems to meet a fundamental need of today's man.

Mateos de Manuel, Victoria (2017) "La ciudad moderna: del flâneur a Salomé", Seminario Permanente "La filosofía política de la ciudad" (9 de febrero), Instituto de Filosofía, Consejo Superior de Investigaciones Científicas.

Se adjunta el cartel del seminario, disponible de manera online en el siguiente link: http://ifs.csic.es/en/event/seminario-permanente-filosofia-politica-ciudad-1

It is time to paw the landscape once more as radically as hard green berries replace the red and once more It is too late to be simple.-Lisa Robertson, from "porchverse"' A born-in-New-Yorker once remarked to me that the only polis one was likely to find on the west coast would be a national park. While I would not care to defend the east versus west distinction beyond cocktail parlance, it is probably fair to say that nature is never far from the end of one's nose in British Columbia. The big mountains, big forests, big ocean, and resource-based economy get in people's poems, artworks, and politics as the coastal rain gets into their bones nine months out of the twelve. Always dressed in quotation marks of course, "nature" is a perennial locus of cultural expression. In The Climax Forest (1995), Peter Culley weaves scenes of the town and country around his home near Nanaimo on Vancouver Island into dense landscapes that include personal, cultural, and historical ~omponents.~ Lisa Robertson, in XEclogue (1993), Debbie: An Epic (1997), and The Weather (2001), plays off the conventions of various literary constructions of place to articulate deterritorialized environments that blend the linguistic, horticultural, gendered, and political with naughty sex. For both poets, landscape is much more than local scenery: it is an intense performance of lyrical sensibility riven by historical events and cultural complexity.3 Peter Culley began to publish chapbooks with small local presses in the early 1980s; Lisa Robertson emerged a little later, toward the end of the decade. At this time, Language writing was au courant in the U.S. and Canada, poststructuralism reigned in the academies, and the Kootenay School of Writing (1985) had just been established in Vancouver as a local venue for the new avant-garde poetics. Culley and Robertson inherited from their elders the reflexivity which marked this second phase of the postmodern-acute awareness of linguistic, social, political, and cultural determinants of experience-and an attention to the "politics of poetic form" as Charles Bernstein was to phrase it famo~sly.~ For these younger poets, epistemological skepticism and a distrust of the merely aesthetic was not a discovery or focus of their work, but a point of departure. In addition, the big commercial media

On the one hand, for decades there has been a growing interest in urban walking as an authentic physical, creative or subversive spatial experience. On the other hand, cities as well as different walking practices are more and more staged, are part of mediatized, as well as market-oriented city scenarios or artistic image productions. Thus urban strolling appears increasingly to be a theatreor filmlike experience. The text discusses the ambivalence and complexity of today’s walking practices and re-evaluates their meaning ranging from resistance to consumerism, referring to the historical concept of the flâneur as well as to the current phenomenon of a postheroic urban stroller. Examples from film, fine arts and literature from recent decades, illustrating paradoxical walking concepts, are used for analysis; a special focus is placed on Bertrand Bonello’s film Nocturama, Albrecht Selge’s novel Wach and Valérie Jouve’s photo series Les Passants and Les Personnages.

Thematic structure of the discourse of intolerance. The article presents a model of the thematic structure of hate speech as a form of intolerant discourse on vulnerable social groups singled out on the basis of protected characteristics. Four major thematic categories are identified: “Intuitive assessment”, “Characterization of the social group”, “Comparison of the group with other social groups” and “Position of the group in the discourse community”. Examples of verbalization of topics and subtopics of homophobic, sexist and xenophobic rhetoric in the online comments of Belarusian users in 2015–2019 are provided. Keywords: intolerant discourse, discourse of hate, hate speech, gender-based hate speech, sexist hate speech, xenophobic hate speech, sexual orientation-based hate speech, online discourse, online comment

is regarded by some as one of the most brilliant architects and engineers working today. In the 2002 book he co-authored with Michael Braungart (a chemist) Cradle to Cradle: Remaking the Way We Make Things , McDonough ' s approach takes off from a simple observation: we live in a badly engineered world, because the vast amounts of waste (both material and energetic) are needless; and that waste could be virtually eliminated through better design. The central problem is this: the objects we throw " away " (wherever that is) were not designed to be recycled. They not only let off harmful toxic gasses, but " recycling " them results in more waste-both the extreme amounts of energy required for the recycling, and the residue that cannot be reused. Recycling in this view is a makeshift affair, sometimes effective but more often than not wasteful and dangerous. Scrapping cars results in a metal m é lange weaker than any of the separate metals that went into the mix: " most recycling is actually downcycling : it reduces the quality of the material over time (McDonough and Braungart, 56). Unless the product is specifi cally designed to be recycled, enormous amounts of stuff (" technical nutrients ") Allan Stoekl teaches in the Departments of French and Comparative Literature at

On the one hand, for decades there has been a growing interest in urban walking as an authentic physical, creative or subversive spatial experience. On the other hand, cities as well as different walking practices are more and more staged, are part of mediatized, as well as market-oriented city scenarios or artistic image productions. Thus urban strolling appears increasingly to be a theatre- or film-like experience. The text discusses the ambivalence and complexity of today's walking practices and re-evaluates their meaning ranging from resistance to consumerism, referring to the historical concept of the flâneur as well as to the current phenomenon of a post-heroic urban stroller. Examples from film, fine arts and literature from recent decades, illustrating paradoxical walking concepts, are used for analysis; a special focus is placed on Bertrand Bonello's film Nocturama, Albrecht Selge's novel Wach and Valérie Jouve's photo series Les Passants and Les Personnages.

Doris Lessing has lived in London since she first arrived there in 1949, from Southern Rhodesia (now Zimbabwe). Lessing has always expressed her passion for the city of London, which has been turned into the setting for most of her novels and short stories. In addition, in her fictional and autobiographical texts the author reveals her love for theatregoing and play-acting, as well as her perception of life as a stage. This article strives to link these two ideas (the city and the theatre) in Lessing's recent fiction, which shows an increasing interest in the image of London as a theatre, whereby the female protagonist happens to become a spectator of snippets and sketches of real-life scenes, as she strolls around the city. In the act of observing these scenes from everyday life, these twentieth-century female flâneurs render London as a potential space, a space of creativity, where mutual bonds are established between the flâneuse/spectator and the performers. In this sense, psychoanalytic criticism-for example, the concept of transitional space as defined by D. W. Winnicott-will prove to be useful in the analysis of Lessing's fiction.

Using the media images from the exhibition 'The New Woman Behind the Camera' at the National Gallery of Art, Washington (31st October, 2021 - 30th January, 2022) as a starting point, this text examines the (in)visibility of the "New Woman" behind the camera. The text briefly investigates the disenfranchisement of women in 19th century through the work of George Sand and Camille Claudel; the role of the female flâneuse and the rise of the suffragettes; the relationship between two women and two men; a story; the work of two women photographers (Germaine Krull and Claude Cahun) who through photography challenged the representation of gender identity; a Zen proposition, and the particular becomes universal – in order to understand how artists, both female and male, find integrity on their chosen path.

Este estudio se fundamenta en las bases de la deriva artística, como técnica etnográfica para explorar el territorio urbano, iniciada por Surrealistas y Situacionistas. La autora investiga las particularidades de ser flâneuse (observadora deambulante de las ciudades) en París, durante un mes, desde una perspectiva feminista de esta práctica. Desde una mirada docente se observa la ciudad como lugar de aprendizajes del futuro profesorado para su formación inicial. El objetivo es hallar estrategias artísticas de diseño cartográfico asociadas a derivas, con las que reflexionar visualmente sobre la experiencia de la ciudad y aplicarlas a la formación inicial del profesorado de secundaria en artes visuales. Se emplea la A/R/Tografía como método propio de la Investigación Basada en las Artes que permite combinar los intereses artísticos, de investigación y docentes. Se analizan las experiencias de deriva y se clasifican según distintas categorías, que emparejan modos opuestos de experiment...

From the time of the Renaissance, treaties on architecture, odes to the arts, and the study of their canons through written sources, have served to defend, emphasise, or proclaim the validity of different artistic forms and styles. In this way, programmes and manifestos have reinforced the character of organisations and movements through their fundamental ideas. The artistic Avantgardes have thus used this literary resource to lay the theoretical foundations for their future artistic contributions, being able to justify without any qualifications their most extravagant occurrences. The Avant-garde manifesto shall therefore be considered a literary contribution written in the first place for the subsequent development of the artistic and creative activity of the group or school. The Surrealist Movement generated a lot of written work because the founders, André Breton, Louis Aragon, and Philippe Soupault, were writers. Some of these texts included the Movement's two manifestos, periodicals such as Le Surréalisme au service de la révolution, Littérature, or Minotaure, and individual writings that were penned by Breton and Aragon. This study will relate the Surrealist written work with the Movement's idea of the city and its urban imaginary.

The aim of this research is to show how the spatial features of urban environments affect women’s and men’s behaviour pattern. The paper’s first part reveals the concept flâneuse in the relationship with the flâneur. Then the spatial parameters of built environments are discussed. As the results from this inquiry shows, correlations between the spatial configurative structures and how men and women use urban space were found on the one hand. In spatially integrated streets, an equal number of women and men were found. The more segregated the streets tend to be the more they were dominated by men. On the other hand, as soon as the shops were closed, men dominated the streets. Women are using the street as corridors and not as a destination itself. When women use the squares in the evening or at night, they are usually accompanied by others. The use of space syntax showed that liveliness could be predicted by the structure of the city. Not only does the crowd provide the flâneuse a va...

This article focuses on the experience of walking, cycling, the emotional experience of mobility and (in)visibility in urban space in rhizomatic urban spaces in different cities in the Netherlands by an architect flaneur/flaneuse, presented in an autoethnographic interpretation. The flaneur/flaneuse interprets the urban narrative and lived space through direct encounters and experimentation with everyday practices. This subjective experience leads to questions on the kinds of articulation that rhizomatic cities and architecture weave for the flaneur/flaneuse and architecture. How does a contemporary flaneur/flaneuse locate him/her being in an urban space in this era? Can a flaneur/flaneuse, today, set down roots in a home environment emotionally? How does contemporary architecture embed its dwellers or temporary perceivers in this era? As in Rilke’s experience of a single lighted house, mentioned by Bachelard, are we confronting more solitary houses in urban space that remind us of our isolatedness and separatedness as a contemporary flaneur/flaneuse? Where does the warmth of the house/home start, when we have already started living in a world of “designed” narratives of housing policies? Therefore, the research highlights the experimentality of Dutch architecture based on the author’s personal experience with urbanism in Utrecht, Rotterdam, Delft, and Amsterdam.

There are many people whose idea of a dialectician is a lover of subtleties…Crude thoughts, on the contrary, should be part and parcel of dialectical thinking, because they are nothing but the referral of theory to practice…a thought must be crude to come into its own in action." (Hannah Arendt on Walter Benjamin, Men in Dark Times)

Resumen. Este estudio se fundamenta en las bases de la deriva artística, como técnica etnográfica para explorar el territorio urbano, iniciada por Surrealistas y Situacionistas. La autora investiga las particularidades de ser flâneuse (observadora deambulante de las ciudades) en París, durante un mes, desde una perspectiva feminista de esta práctica. Desde una mirada docente se observa la ciudad como lugar de aprendizajes del futuro profesorado para su formación inicial. El objetivo es hallar estrategias artísticas de diseño cartográfico asociadas a derivas, con las que reflexionar visualmente sobre la experiencia de la ciudad y aplicarlas a la formación inicial del profesorado de secundaria en artes visuales. Se emplea la A/R/ Tografía como método propio de la Investigación Basada en las Artes que permite combinar los intereses artísticos, de investigación y docentes. Se analizan las experiencias de deriva y se clasifican según distintas categorías, que emparejan modos opuestos de experimentar la ciudad: sola o en compañía familiar; a paso lento o corriendo; en superficie o subterráneas. Los resultados son 6 cartografías que muestran diferentes formas de representar los resultados de las derivas: estética, técnica y conceptualmente. Estas cartografías visibilizan el modo de experimentar la ciudad por una mujer y sirven para ejemplificar a futuros docentes su uso en el registro de aprendizajes. Palabras clave: Deriva; cartografía; flâneuse; formación inicial del profesorado. [en] A flâneuse teacher in Paris. Cartographies in initial teacher training Abstract. This study is based on the foundations of artistic drift, as an ethnographic technique to explore the urban territory, initiated by Surrealists and Situationists. The author investigates the particularities of being flâneuse (wandering observer in cities) in Paris, for a period of one month, from a feminist perspective of this practice. From a teaching point of view, the city is seen as a place of learning for future teachers in their initial training. The objective is to find artistic strategies of cartographic design associated with drifts, with which visually reflect on the experience of the city; and apply them to the initial training of secondary school teachers of visual arts. The A/R/Tography is used as a method of Art Based Research that allows combining the artistic, research and teaching interests. Drift experiences are analyzed and classified according to different categories, which match opposite ways of experiencing the city: alone or with family; at a slow pace or running; on surface or underground. The results are 6 cartographies that show different ways of representing the results of drifting: aesthetically, technically and conceptually. These cartographies highlight the way of experiencing the city for a woman and serve to exemplify to future teachers their use in the learning register.

In literature on modern urban life, a flâneur is a man who wanders seemingly aimlessly but with the intention of observing people or events in urban life and perhaps recording these observations in text or images. This article shows how contemporary women artists in Hong Kong-a city in late capitalism, perform the role of the flâneuse, the female counterpart of the flâneur. The article analyses Stella Tang's series of paintings Sauntering Through My City Series (2009-2016) and Annie Wan's ceramic works Looking For Poetry in Wanchai (2005) and Collecting Moonlight (2017). The article takes a nomadic nondialectical approach to explore how the two women artists practise their flâneurie, and how they transform such experiences into art projects that are different from the conventional flâneur art. I identify three aspects of the alternative representation of urban space in the works of the two flâneuses: reconfiguration of conception, the creative appropriation of alternative art forms and public engagement.

The ubiquity of the flâneur as an observer of modern life has led various literary critics, such as Janet Wolff, Rebecca Solnit, and, more recently, Lauren Elkin to try to sketch a feminist sociology of modernity through the figure of the flâneuse, or female walker. Building on the works of these critics, this paper examines the potentiality and limitations of feminine “Fortbewegung” as a form of gendered movement differentiated from masculine forms of “spazieren.” Particularly in the early twentieth-century European metropolis, the temporality of flâneusing is framed by two specifically gendered forms of movement, namely streetwalking and strolling, both of which have strong links to the traditionally female labor of prostitution and childcare.

By reading Robert Walser’s novella "Der Spaziergang" (1917) in conjunction with Virginia Woolf’s 1927 essay “Street Haunting,” I propose that walking can function as a radically anonymous, androgynous act which involves an erasure of gender, social class, and age. This ambulatory androgyny results in a kind of “sich verlieren” or self-effacement which has a liberating function for both Walser’s and Woolf’s walker. The tension between gendered and anonymous movement foregrounds a central but suggestive paradox: walking both actualizes the self while at the same time effacing it as a materially and socially constructed being.

“‘Mitä sinä tässä kävelet?’ Naisiin kohdistettu katse Helsingin julkisissa tiloissa 1900-luvun vaihteen kirjallisuudessa.” (“What Are You Walking Here? The Male Gaze in Helsinki’s Public Space in Literature of the Turn of the Century.” In Rossi, Riikka & Isomaa, Saija (eds.): Kirjallisuuden naiset. Naisten esityksiä 1840-luvulta 2000-luvulle (“Literature’s Women. The Representation of Women from the 1840s to the 21st century”). Helsinki: SKS, 2013, 141–164.

1900-luvun  alun kirjallisuudessa  Helsinki  näyttäytyy  paitsi  modernisoituvana  ja  poliittisesti jännittyneenä kaupunkina myös vahvasti sukupuolittuneena ja sosiaalisesti jakautuneena tilana. Vuosisadanvaihteen  kirjallisuudessa  naiset  joutuvat Suomen  pääkaupunginjulkisessa  tilassa toistuvasti  miesten  katseiden,  arvostelun,  ajoittain  myös  väkivallan  kohteeksi.  Julkisessa kaupunkitilassa  koettu  ahdistelu  kytketään  kaunokirjallisissa  kuvauksissa  ajankohtaisten sosiaalisten,  moraalisten  ja  poliittisten  kysymysten  pohdintaan.Tarkastelen  tässä  artikkelissa naisten  ja  miesten  välisiä  sukupuolittuneesti  latautuneita  kohtaamisia  Arvid  Järnefeltinromaaneissa Veljekset (1900) ja Veneh’ojalaiset (1909), Eino Leinon Jaana Rönnyssä (1907),sekä Kyösti Wilkunan Vaikeassa tiessä (1915). Esitän, että aikalaiskirjallisuudessa tematisoidut sukupuolittuneet  kohtaamiset  paljastavat  julkista  kaupunkitilaa  säätelevän  koodiston,  jonka mukaan  yksin  liikkuva  nainen  tulkittiin  helposti  langenneeksi  naiseksi.  Teokset  kuitenkin kyseenalaistavat    ja    kumoavat    miesten    ennakkoluuloja    ja    oletuksia    naispuolisesta kaupunkikävelijästä.    Suomalaisissakaupunkiromaaneissa    Baudelairen    suurkaupunkia tarkasteleva  flanöörin  hahmo  saa  omanlaisen  muunnelman: kirjallisuudessa  esitetyt  naiset toimivat  miespäähenkilöiden  yhteiskunnallisen  vastuuntunnon,eivät  niinkään  halun  tai moraalisen  arvostelun  herättäjinä.  Naishahmojen  kuvaus  kutsuu  miespuolista  (pää)henkilöä toimimaan.    Myös    routavuosien    poliittiset    jännitteet    näkyvättavassa    hahmottaa sukupuolittuneita kohtaamisia kaupunkitilassa. Ennen kaikkea Eino Leinon routavuosiromaanissa Jaana  Rönty julkisessa  tilassa  vastaantulevan  naisen  hahmoon  liitetään myös poliittisia merkityksiä. Kuten analyysini osoittaa, nainen ei tässäkään tapauksessa pääse vapaaksi  miehisen  merkkijärjestelmän  piiristä:  nainen  ei  muodostu  merkiksi  omasta  itsestään tai  omasta  elämäntarinasta,  vaan  valjastetaan  symboloimaan  mieskatsojan  yhteiskunnallista ohjelmaa.

A middle-class male, wandering through the streets for no apparent reason other than the mere jouissance. The Flâneur, Baudelaire's conception of such a figure, becomes problematic when feminist theorists conceptualised the flâneuse, the female wanderer, one which can only wander for a reason, to shop, whilst in the process she becomes the subject of the male gaze, possibly even the Flâneur's gaze. This essay will further explore the differing concepts of the flâneur and the Flâneuse in relation to Hatred/La Haine (Mathieu Kassovitz, 1995) and Vagabond/Sans toit ni Loi (Agnès Varda, 1985). The Flâneur's relevance to Hatred is associated to the boys aimless yet accessible wandering through the banlieue/cité, the Parisian housing projects, and how it differs as soon as they attempt to wander around Paris.