#Les Flaneurs

[downtobaker]

Quegli stupidi eroi di provincia

da redazione C’è chi insegue una femme fatale dei quartieri alti, senza voltarsi indietro verso la casa popolare in cui è cresciuto, e chi dà prova di eroismo in battaglia contro i topi. C’è l’ex enfant prodige che ora deve assaggiare l’amarezza delle aspettative deluse, e chi approfitta della gravidanza per fare i conti con sé stessa. C’è chi cerca nei locali di spogliarello un antidoto alla…

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#italia #leggere #libri #Aldo Moro #amore #anni 80 #calcio #G8 #Genova #Les Flaneurs #libro #mondiali #racconti #Riccardo Lestini #romanzo #seria A #sport

[stilouniverse]

Lucrezia Lombardo "Berggasse 19. Una donna di nome Anna Freud", Les Flaneurs Editore

Les Flaneurs Edizioni «È solo grazie a te, Dorothy, mia preziosa amica d’una vita,paziente e gentile, se sono riuscita a ritornare, dopo un lungo esilio,in Berggasse 19, laddove tutto ha avuto inizio». Intellettuale amante delle trasgressioni alla tradizione, Anna Freud (Vienna1895 – Hampstead 1982) fu la caposcuola della “psicologia dell’io”. Si dedicò a tempo pieno alla psicoanalisi, che dal…

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#Les Flaneurs Editore #Lucrezia Lombardo "Bergasse 19. Una donna chiamata Anna Freud"

[statoprecario]

Premio Strega 2024 Gianni Maritati propone L'ULTIMO TRENO DA KIEV - Romanzo di Stefania Nardini - Les Flaneurs edizioni

Stefania Nardini L’ULTIMO TRENO DA KIEVLes Flâneurs edizioni L’ultimo treno da Kiev di Stefania Nardini è stato proposto al Premio Strega 2024 dal giornalista del Tg1 Gianni Maritati con la seguente motivazione:«Con uno stile aderente alla crudezza della realtà raccontata, il romanzo ricostruisce in modo doloroso la fuga di tante donne ucraine dalla fame e dalla guerra. Con gli occhi di Irina,…

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#Gianni Maritati #l’ultimo treno da Kiev #premio strega 2024 #Stefania Nardini Les Flaneur Editore

[mamotreco]

Catriona Shaw aka Miss Le Bomb and Fred Bigot aka Electronicat performing together as X and the Living End I think, at Le Triptyque in Paris in the early 2000s

#electronicat #paris #flaneur #miss le bomb

[passione-vera]

Luciana De Palma presenta il libro "Piccoli inconvenienti prima della felicità" Les Flaneurs Edizioni

Luciana De Palma presenta il libro “Piccoli inconvenienti prima della felicità” Les Flaneurs Edizioni

Luciana De Palma è nata nel 1976 a Corato (BA), è insegnante di scuola primaria. Ha pubblicato le raccolte di poesia La candela rossa, edita dalla casa editrice indiana IICCA, in italiano e testo inglese a fronte, Risacche, Secop edizioni, tradotta in serbo, Sassi e comete, edito da Lineeinfinite. Ha pubblicato due romanzi: Il melograno, Città del Sole edizioni e Il mulino blu, Florestano…

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#Les Flaneurs Edizioni #libro #Luciana De Plama

[clove-pinks]

Not a new academic journal article about Paul Gavarni, but newly found by me: "Parisian Social Statistics: Gavarni, 'Le Diable à Paris,' and Early Realism" by Aaron Sheon (Google Drive link). I think this will be of interest to many of my friends here—

Le Diable à Paris is important to art historians because it included a series of illustrations by Guillaume Sulpice Chevallier, known as Gavarni, the popular Parisian illustrator who was one of the city's most colorful personalities—a bohemian and flaneur. His entire series of illustrations showing types of Parisians, particularly the poorest ones, was popular enough to be later assembled as Les gens de Paris in a separate book. Each illustration was captioned by Gavarni himself, who took pride in writing a touching or witty description for each image.

Gavarni's illustrations in Le Diable à Paris included some of the cruelest scenes of waifs, paupers, beggars, and les misérables that had yet been done. It is surprising that they have been overlooked in recent studies of the politicization of French artists in the 1840s. The curious neglect of his imagery of the destitute, unemployed Parisians in Les gens de Paris appears to be due to the general neglect of Gavarni's oeuvre. When considered at all, Gavarni has been viewed by most historians as a conservative artist, a gay blade who lived only for carnavals and bohemian self-indulgence. This assumption may be incorrect.

This is a really, really, really good article about Gavarni's world, probably the best source I've found next to his biography by Jules and Edmond de Goncourt (which is in French). There is some fascinating background on the gathering of social data and the development of the modern statistical bureau in early 19th century France; and the content of Le Diable à Paris is a LOT darker and more socially conscious than I imagined. I had thought that it was a more light-hearted work before Masques et Visages but definitely not. (Which makes it even more inexplicable that people in 1840s Britain thought that Gavarni was just a dandy who made elegant fashion drawings, only to be disappointed by his more complicated reality).

Very interesting information about provincial peasants flocking to 19th century Paris, where they lived in slums and faced discrimination and mockery for their regional dress and accents: "In the 1840s a number of pejorative words began to appear in novels and articles describing the immigrants: misérables, wretches, barbarians, savages, indigents, illiterates, nomads, vagabonds, and vagrants. Some writers described them as the 'mob' and a 'nation within the nation.'"

Special to @sanguinarysanguinity: I have FINALLY found some of Gavarni's mathematical work, thanks to this article! "Des fonctions curvitales" in Comptes Rendus des Séances de l'Académie des Sciences (1865). It's in French but maybe the equations will give you some idea?

Gavarni's publisher Pierre-Jules Hetzel was a lot younger than I imagined! I had no idea Hetzel was a political activist in the 1830s and 1840s (and opposed to the regime of Louis Philippe). He signed Honoré de Balzac to a publishing contract, too! Note to self for the upteenth time: I have to start reading Honoré de Balzac, who is constantly being brought up in association with/compared with Gavarni.

Sheon puts a pretty good case together that Gavarni should be regarded as more politically progressive and less shallow, although it makes me ponder how little I know about him. Gavarni is still enigmatic to me, and I have so many questions.

#paul gavarni #french history #1840s #les misérables #but not the novel #july monarchy #early victorian era #sheon gets bonus points for getting gavarni's birth name correct #(i wish that was less rare) #why are my favourite historical figures always obscure and neglected #also mister gavarni i'm sorry i am so bad at reading french i don't properly appreciate your touching and witty captions :(

[crazy-so-na-sega]

Nel pieno del mondo della sicurezza liberale, al contrario, i soggetti più sicuri potevano (anzi, per molti versi, dovevano) godere persino l'insicurezza in forma di esperienza. E' l'atteggiamento che Zygmunt Bauman riassume nelle figure del "turista", dell'abitante dei quartieri "buoni" delle città o, con una portata culturalmente più ampia, del flaneur: un soggetto che vuole "immergersi nell'elemento strano e bizzarro [...] alla condizione, però, che non si appiccichi alla pelle e possa essere scrollato di dosso appena lo si desidera", che ama lo straniero, ma solo perché lo trova "gradevole come praticare il surf nella certezza che qualsiasi cosa comporti l'incontro, "non comporterà conseguenze", un soggetto, appunto, che anche quando sembra immergersi nell'insicurezza non cessa mai in realtà di essere al sicuro, perché sa benissimo di restare sempre lui a condurre il gioco. "Fa le richieste, fissa le regole e soprattutto decide quando l'incontro inizia e quando finisce". E' lo stesso atteggiamento che, già vent'anni prima, Jean Baudrillard aveva denunciato come tipico del consumatore nella società dei consumi:

"La relazione del consumatore col mondo reale, con la politica, con la storia, con la cultura, non è quella dell'interesse, dell'investimento, della responsabilità impegnata - e non è più neppure della indifferenza totale - è quella della curiosità".

-Alessandro Colombo -IL governo mondiale dell'emergenza

#società

[leflaneurandhieronymus]

...is this thing on?

Good morning from a boat in the Netherlands. It is not currently raining which is, I feel, important to note. The year is 2023, and it is time, I regret, to revisit the boat blog.

I'm in Europe for a couple of months, annoying my parents, playing at being competent crew, and then, on occasion, actually travelling. Crucially and against all odds, I am still taking photos, which is mostly what this blog is for.

We begin in the small Dutch town of Culemborg, two trains from Schiphol Airport and perfectly quaint, if eternally under construction. An airport pickup at 6:15am on a Wednesday is out of the question, but a bicycle pickup (very Dutch) is not.

You take a fold up bike, attach it to a trailer, take your second fold up bike and put it in the trailer. Then you find the person you're meeting (difficult without internet; the train arrives on one side and the bicycle is on the other), unfold the bike and replace it with the relevant luggage. Piece of cake. 30kg of stuff is no bother when it's flat, I promise.

The next day we're off, no time to lose, the Amsterdam-Rhine Canal and, hopefully, the Vecht, await. We stash the bikes on board, I try and remember how to use a boat hook and we're on our way.

We're moored under a tree in autumn, so part of preparing for sailing is de-leafing. It's a highly technical process.

A couple of locks later we're onto the Netherlands' finest boat freeway, the Amsterdam-Rhine Canal, where barges are simultaneously overtaking, undertaking and blue-boarding (on the wrong side of the river). Le Flaneur is the unfortunate combination of small but not very fast and not very manoeuvrable, so our only course of action is to get out of the way and hope for the best.

Despite the masses of shipping, we've still had to negotiate low bridges with our masts down and everyone breathing in. It also means taking the top of the chimney off.

We arrived that evening in Maarsen, having run out of bridges that would let us through. Dutch rules out of season are straightforward but difficult to follow: you have to call 24 hours ahead of time so that they can send a bridge operator out. What number and for which bridge and indeed what the name of the bridge is are constant challenges.

Anyhow, as is traditional in the Netherlands, Maarsen was very pretty and then it rained. We sheltered in a convenient Brasserie and pootled slowly home.

#more when I can write it #it is #november #the netherlands #tumblr still refusing to make photos look half decent I see

[eclecticharmonytimemachine]

Albert MARQUET (1875-1947, France) Le flaneur du port à Marseilles

[kidnamedfinger2022]

Notes on Presentation

modernism:

rejects religion and enlightenment thinking

was shaped by development of modern societies

cavafy was protomodernist

cavafys unreal city got worldwide acclaim, rivaling london and dublin

radical shift in aesthetic and cultural sensibilities after ww1 is modernism

growth of cities and man made horrors influenced it

pouring a jar of mustard into a gas tank does not result in mustard gas

modernism rejects romanticism

rejected optimism

it was very depressive and emo at the time

investigated form and language

technical innovations in society gave more tools to artists

invented the concept of unreliable narrator

cavafys portrayal of god is cold and unfeeling

the idol is impervious and insensitive

objective correlative was invented

by ts elliot

ts elliot wrote hamlet and his problems

ts elliott wrote the wasteland

about ww1 and dead people

hmm, impressive, lets see paul allen's poem

cavafy likes to write about walls and shadows

alexandria becomes:

decline

oppressive limita

learning

exoticism

diatance

agoraphobia?

who is a flaneur??

privileged

alone but not lonely

conoisseur of culture

no agenda

enjoys taking it in

a new model of the modern man

cavafy was alienatwd because he was a gay greek christian poet in a world of straight egyptian muslim clerks

william makepeace (more like makewar hehehehehe) thackeray said that alexandria is pretty bad and boring and ugly and bad and smelly

he said the coffee was bad and the music was bad and the chairs were uncomfortable and overall he was a very grumpy and miserable guy

The Poems:

eros took hold of cavafys body

struck by the spell of love

he radiated

translated by edmund keeley and philip sherard edited by george savidis revised edition princeton universty Press 1992

memory is involuntarily triggered by marcel proust

sea of the morning

morning of the sea

why wont jeff bezos

give money to me

anyway the sea poem was a very gay poem that cavafy was afraid to show to the world for obvious reasons

Le City was a very depressing poem about how its impossible to fundamentally change as a person and your troubles will follow you to your grave there is no hope there is no change the only constant is suffering etc

he made a lot of changes from its previous version because he thougjt some lines didnt accurately convey the feeling of ennui desperance

he eapecially took out a few lines about hate and replaced them with declarations of self loathing to make it more relatable

extended metaphor in the second stanza

analogy

emblem

allusion to dantes inferno

abandon all hope, ye who enter my notebook

pattern was abbccdda (strange)

who was marcus aurelius anthonius??

reformed rome from oligarchy into an autocratic empire i dont know if thats a good thing actually

[doriangray1789]

FLANÖR Flanör (Fransızca flaneur), 'aylak kent gezgini' anlamında kullanılan Fransızca kökenli kelime. Bu sözcük belirli bir karakteri yansıtır. Şehirde koşturan, çalışan diğer insanların aksine flanör, sakince sokakları dolaşır, gözlem yapar ve düşünür. Kalabalıklar içinde yalnız bir şekilde gezer. Herhangi bir amacı yoktur. Edebiyat kaynaklı flanör sözcüğü ile genellikle erkek bir karakter kastedilmekteydi. Bu sebeple daha sonra, kadınlar için kullanılan flâneuse (flanöz) kelimesi ortaya atıldı.Walter Benjamin'in "Pasajlar" adlı kitabında tanımını yaptığı tanıma göre ‘‘Flaneur, sığınağını kitlede arar.’’ Ve aynı zamanda; ‘‘Kitle bir peçedir; bu peçenin ardından alışılmış kent, bir fantazmagori niteliğinde Flaneur’ü çağırmaktadır.’’ Kitle yani kalabalıklar onun evi gibidir.Görsel: Paul Gavarni tarafından yapılan Le Flaneur adlı çalışma, 1842

[makeshiftsun]

The Architectural Uncanny by Anthony Vidler

Vagabond Architecture (PAGE 207 onwards)

“For Progressive Modernists, the traditional model of a house, “heavily attached to the earth by the depth of its foundations and the weight of its thick walls,” “the symbol of immutability, la maison natale, le berceau de la famille,” was obselete. Such a characterization of modernity, of course, was equally the burden of conservative social critics from Heidegger to Sedlmayr, who had no hesitation in placing the blame for “the lost center” on architects like Ledoux whose spherical design for a house seemed for the first time to uproot the domicile from its proper foundations.

We might be tempted to place Hejduk’s [John Hedjuk]  mobile “homes” in this tradition, somewhere between functionalist optimism and phenomenological  nostalgia. But Hedjuk’s strange-looking characters on wheels defy rationalist classification-the list of “victims,” for example, reads like some Borgesian elaboration of a “Chinese Encyclopedia”-even as they balk at incorporation into conservative regression. Hedjuk’s “mobility,” both in Victims and in Vladivostok, is neither the simple and functionalist invention of a mobile or quasi-mobile architecture nor an oneiric counter to modern mobilization.

Indeed, his designs stand aggressively against both past and present, acting as catalysts for critique in each of the cities they visit. Here we think of the explicit reminders, in Victims, of the Holocaust and the sociocultural construction of cruelty. The site itself, we are told, “had formerly contained torture chamber during WWII”; it was now to be occupied, among other objects, by “houses” for “The Identity Card Man” and “The Keeper of the Records” and their offices- “Identity Card Unit,” “Record Hall”-Kafkaesque figures certainly, but given unmistakable historical context by spaces such as the “Room for Those Who Looked the Other Way.” Such explicit references are confirmed by the entire population of victims-”The Disappeared,” “The Exiles,” and “The Dead.” Representations of the repressed unsaid, they act as a perpetual reminder, a kind of memory theater, of the uncomfortable past, both in the sites they occupy and the forms they assume.” PAGE 208

“Vagabonds then, were guilty of no crime but that of vagabondage; potential criminals, outside the law not for a crime committed but for what might be committed in the future as a product of a wayward life.

In thus identifying himself with the tradition of vagabondage, Hejduk seems self-consciously to activate all its potentially critical roles, roles that derive from the confrontation of a fixed context with an unfixed and roving subject. For, like the vagabonds they emulate, Hejduk’s constructions literally construct “situations” from the part-random, part-preconceived intersection of objects and subjects, insistent provocateurs of the urban unconscious. In this context, we might see them as the heirs to a long tradition of investigating the critical power of such “situations,” from poets like Baudelaire and Rimbaud to the surrealists and situationists. Opposed to late modernist visions of technological progress, Hejduk follows the surrealists as they attempted to counter the modernist utopias of the nomad; like the “nightwalker” of Aragon, peasant in the strange city, or the bohemian flaneur of Benjamin.” PAGE 210

“Citing do Chirico, who “has attacked the problems of absences and presences through time and space,” Ivain [Gilles Ivain] called for a new vision of time and space for architects of the future, embodied in symbolic buildings figuring the desires and mental powers-a kind of Fourierism in architecture-that would finally place “psychoanalysis in the service of architecture.” He outlined the specifications for a new, countermodern town:

This town could be envisaged in the form of an arbitrary grouping of chateaux, grottoes, lakes, etc. The quarters of this city could correspond to diverse catalogued feelings that one meets by chance in current life. Bizarre Quarter-Happy Quarter-particularly reserved for habitations-Noble and Tragic Quarter (for wise children)-Historic Quarter (museums, schools)-Useful Quarter (shops, shops for equipment)-Sinister Quarter, etc. Perhaps also a Quarter of Death, not to die in but to live in peace... The Sinister Quarter for example will usefully replace these holes, hell mouths that peoples once possessed in their capitals; they symbolized the evil powers of life. The Sinister Quarter will have no need to shelter real dangers, such as traps, secret dungeons, or mines. It would be approached in a complicated way, frightfully decorated (loud whistles, alarm clocks, periodic sirens with irregular cadence,  monstrous sculptures, mechanical mobiles driven by motors called Auto-Mobiles) and lit poorly at night, as well as violently during the day by an abusive use of reflections. At the center, the “Square of the Terrifying  Mobile.” The saturation of the market by a product provokes the devaluation of this product; the child and the adult will learn by exploring the Sinister Quarter no longer to fear the anguishing manifestations of life, but to be amused by them. The changing of landscape hour, by hour will be responsible for a complete “dépaysement.””

PAGE 212-213

“Here Hejduk goes beyond the situationist obsession with the spectacle and its protopanoptical implications, to explore a new type of space, that of the nomad, as it intersects with the more static space of established urban realms. We might refer to the distinction, drawn by Deleuze and Guattari in their Traité de nomadologie; La machine de guerre, between “state” space and “nomad” space. A sedentary space that is consciously parceled out, closed, and divided by the institutions of power would then be contrasted to the smooth, flowing, unbounded space of nomadism; In western contexts, the former has always attempted to bring the latter under control. In this way, Deleuze and Guattari trace the struggle between a state mathematics and geometry and a nomad science based on dynamic proportions of becoming, heterogeneity, the infinitesimal, the passage to the limit, and continuous variation (a science sketched, but not elaborated, by Husserl when he spoke of a “vague” or vagabond geometry). This is paralleled by the historical difference between nomad work and state work, where “nomad” associations, such as those of journeymen, compagnonnage, itinerant labor, guilds, “bands,” and “bodies,” have always been difficult to conquer and to bring into line with the regular order of state-controlled work. A kind of “band vagabondage” linked to a “body nomadism” has ever resisted incorporation into the divided space of capitalist development.” PAGE 214

Mark Ignatieff, the needs of strangers.

[alemicheli76]

Il blog consiglia "L'ultima ghirlanda di Eva Gonzales" di Federico Grigotti, Les Flaneurs. Da non perdere!

«Vorrei fermare il tempo, con la stessa ostinazione con cui ho sempre cercato di catturare – e di fissare sulla tela – gli umori del cielo, l’evanescenza della nebbia e le diverse geometrie della pioggia» Alcune voci sono costrette ad aspettare secoli per essere ascoltate. Eva Gonzalès (nata a Parigi nel 1849), pittrice vicina al movimento impressionista, fu una donna autonoma e tenace, in…

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[miriamw009]

[laragazzacadutanellimbo]

"Desideravo vivere di nuovo e poi di nuovo ancora. Ero pronto ad accettare qualunque genere di vita, anche se piena di dolori e sofferenze; sentivo che solo una serie infinita di vite poteva soddisfare la mia avidità, il mio vigore e la mia curiosità".

Dell'intero romanzo, con le sue descrizioni accurate e le sue analisi psicologiche tipiche della scrittura raffinata di W. Somerset Maugham, é fondamentale il personaggio di Larry, conosciuto da Maugham tramite l'amico Elliot. Anche Elliot viene descritto e anche Elliot sembrerebbe avere una personalità alquanto misera, é un flaneur che ha una vita tutta dedita alla superficialità, alle cene e ai pomeriggi in casa dei ricchi, ad attirare a sé nobili e ad organizzare feste esibendo il proprio denaro (che scaltramente non perse durante il crollo di Wall Street).

Larry cammina sul filo del rasoio, o meglio, decide di camminare sul filo del rasoio perché la guerra lo conduce alla conoscenza del male. Nonostante molti abbiano trovato nuovamente la strada per guarire dai segni traumatici della Prima Guerra Mondiale, trovando un lavoro redditizio nella ricca America e creandosi una famiglia con unioni fruttuose, Larry non é tra questi giovani. Larry comincia a chiedersi il senso della vita, della morte, del bene e del male. Larry ha la mente costantemente piena di domande e l'unica soluzione é abbandonare l'amore per Isabel e quella sicura e ricca America per fare un "aspro cammino verso la salvezza".

Anche Isabel sembrerebbe dedita ad una superficialità e ad una ricchezza che é lo specchio degli Stati Uniti del dopoguerra, non ancora a conoscenza di quello che sarebbe avvenuto dopo: il crollo di Wall Street e la Grande Depressione. Tuttavia é una giovane intelligente, che nutrirá sempre il rimorso di non avere avuto una vita con l'amato Larry.

Larry compie moltissimi viaggi e si nutre di molte esperienze non disdegnando del lavoro nei campi o in miniera. In India sembra trovare la grande risposta, che in realtà risulta essere più una consolazione spirituale, secondo la quale il male e il bene sono processi naturali e l'unico modo per non soccombere é quello di adattarsi a questi processi.

[Continuo nei commenti!]

#William Somerset Maugham #il filo del rasoio #Instagram

[lamilanomagazine]

“Ad alta voce”: il reading dedicato allo scrittore Antonio Delfini martedì 25 luglio ai Giardini ducali di Modena

“Ad alta voce”: il reading dedicato allo scrittore Antonio Delfini martedì 25 luglio ai Giardini ducali di Modena. Si intitola “Ad alta voce” il reading dedicato ad Antonio Delfini che andrà in scena ai Giardini ducali di Modena martedì 25 luglio, alle 21, nell’ambito del programma dell’Estate modenese. La serata è a ingresso libero. Lo spettacolo ai Giardini d’estate, che alterna letture e musiche dal vivo, è a cura del Collettivo SquiLibri che l’ha scritto per celebrare il sessantesimo anniversario della morte dello scrittore modenese avvenuta il 23 febbraio 1963. Stimato ed elogiato da autori e critici come Giorgio Bassani, Cesare Garboli, Attilio Bertolucci, Pier Paolo Pasolini, Natalia Ginzburg, Gianni Celati e Marco Belpoliti, Antonio Delfini è stato uno scrittore “geniale quanto bizzarro e asistematico”, un flaneur fuori tempo massimo, un instancabile ideatore di riviste, giornali e progetti, che nella scrittura ha riversato tutto sé stesso, dissipando ogni risorsa. Le letture in programma sono tratte da “Il fanalino della Battimonda”, i “Diari”, “Il ricordo della Basca”, i “Racconti”, “Autore ignoto presenta” e “Poesie della fine del mondo, del prima e del dopo”. Lo spettacolo ha debuttato lo scorso 20 gennaio, alla Tenda di Modena, nell’ambito della “Trilogia della Via Emilia”, sempre a cura del Collettivo Squilibri, che comprendeva anche un reading su Gianni Celati e Luigi Ghirri e uno su Pier Vittorio Tondelli. SquiLibri è composto da Stefania Delia Carnevali, Eleonora De Agostini, Claudio Luppi, Francesco Rossetti, Daniele Rossi e Luca Zirondoli: narratori, attori e musicisti con la passione per la letteratura e la volontà di metterla in circolo attraverso reading a più voci che coniugano performance, storytelling e musica live. La figura e l’opera di Antonio Delfini saranno anche al centro di un corso di formazione per fumettisti che culminerà nella realizzazione di una graphic novel. L’iniziativa, in fase di progettazione e prevista per l’autunno, è promossa dal Comune di Modena in collaborazione con la rete Giovani artisti dell’Emilia Romagna (Gaer), Arci e il sistema bibliotecario modenese.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article