By Marit Grøtta
Baudelaire's Media Aesthetics situates Charles Baudelaire in the course of 19th-century media tradition. It deals a radical learn of the function of newspapers, images, and precinematic units in Baudelaire's writings, whereas additionally discussing the cultural background of those media in general. The e-book finds that Baudelaire used to be no longer only encouraged by means of the recent media, yet that he performed with them, utilizing them as frames of conception and methods of experiencing the area. His writings display how various media reply to each other and the way the conventions of 1 medium could be paraphrased in one other medium. therefore, Baudelaire's Media Aesthetics argues that Baudelaire may be noticeable in basic terms as an suggest of "pure poetry," yet as a poet in a media saturated surroundings. It exhibits that mediation, montage, and stream are beneficial properties which are crucial to Baudelaire's aesthetics and that his modernist aesthetics will be conceived of, to a wide measure, as a media aesthetics.
Highlighting Baudelaire's interplay with the media of his age, Baudelaire's Media Aesthetics discusses the ways that we reply to new media expertise, drawing on views from Walter Benjamin and Giorgio Agamben. Combining specified learn with modern conception, the publication opens up new views on Baudelaire's writings, the determine of the flâneur, and modernist aesthetics.
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Additional resources for Baudelaire's Media Aesthetics: The Gaze of the Flâneur and 19th-Century Media
To Arsène Houssaye My dear friend, I’m sending you a little piece of work of which it would be quite unjust to say that it has neither head nor tail, since everything, on the contrary, is both head and tail, alternatively and reciprocally. Just think what admirable advantages such a combination offers to everyone, to you, to me, and to the reader. We can interrupt wherever we wish, I, my reverie, you, the manuscript, the reader, his reading; for I am not tying a reader’s recalcitrant will to the unending thread of a superfluous plot.
It is easy to imagine that these fields of vision start to blur in his consciousness, the one melting into the other. When he narrates that he spots “the man of the crowd” outside on the street, on the other side of the smoky window, the following question comes to the fore: from where does the idea of “the man of the crowd” originate? From observation of the streets through smoky windows? From reading newspapers? Is it possible to distinguish clearly between the two? In 1840, newspapers were full of reports from urban life, in the form of physiologies, tableaux, and fait divers, and Poe’s newspaper reading narrator may well have been predisposed to spotting “the man of the crowd” on the street.
The reply could be read as three rhyming octosyllables (the first line really consists of nine syllables, so here an adjustment must be made), or as three rhyming hexasyllables, to which oral and somewhat redundant exclamations are added: Good Lord, no! I feel perfectly happy here. You’re the only one who recognized me. Moreover, dignity bores me. Ma foi! non. Je me trouve bien ici. Vous seul, vous m’avez reconnu. D’ailleurs la dignité m’ennuie. (Ma foi! ) Je (me) trouve bien ici. (Vous seul,) vous m’avez reconnu (D’ailleurs) la dignité m’ennuie The poet thus refuses to have the halo back and proclaims that dignity bores him in limping and rhyming verses.