Paris, capital of the 19th century.
Fata Morgana| N° d'inventaire | 23685 |
| Format | 14 x 22 |
| Détails | 64 p., paperback. |
| Publication | Saint-Clement-de-Rivière, 2016 |
| Etat | Nine |
| ISBN | 9782851949493 |
Baudelaire's genius, which finds its nourishment in melancholy, is an allegorical genius. For the first time in Baudelaire's work, Paris becomes the object of lyrical poetry. This local poetry is the opposite of all poetry of the soil. The gaze that the allegorical genius casts upon the city betrays, rather, a feeling of profound alienation. This is the gaze of a flaneur, whose way of life conceals behind a benevolent mirage the distress of the future inhabitants of our metropolises.
This "exposition" was written in French by Benjamin in 1939. It announces what should have been The Book of Passages, which remained in a fragmentary state, which was intended to be "a social history of Paris in the 19th century" and attempts to "show how new forms of life and new creations based on economics and technology enter the universe of a phantasmagoria. To the phantasmagorias of the market, where men appear only in typical aspects, correspond those of the interior, which are constituted by the imperious inclination of man to leave in the rooms he inhabits the imprint of his private individual existence. As for the phantasmagoria of civilization itself, it found its champion in Haussmann, and its manifest expression in his transformations of Paris."
Baudelaire's genius, which finds its nourishment in melancholy, is an allegorical genius. For the first time in Baudelaire's work, Paris becomes the object of lyrical poetry. This local poetry is the opposite of all poetry of the soil. The gaze that the allegorical genius casts upon the city betrays, rather, a feeling of profound alienation. This is the gaze of a flaneur, whose way of life conceals behind a benevolent mirage the distress of the future inhabitants of our metropolises.
This "exposition" was written in French by Benjamin in 1939. It announces what should have been The Book of Passages, which remained in a fragmentary state, which was intended to be "a social history of Paris in the 19th century" and attempts to "show how new forms of life and new creations based on economics and technology enter the universe of a phantasmagoria. To the phantasmagorias of the market, where men appear only in typical aspects, correspond those of the interior, which are constituted by the imperious inclination of man to leave in the rooms he inhabits the imprint of his private individual existence. As for the phantasmagoria of civilization itself, it found its champion in Haussmann, and its manifest expression in his transformations of Paris."