By Marit Grøtta
Baudelaire's Media Aesthetics situates Charles Baudelaire in the course of 19th-century media tradition. It bargains an intensive research of the position of newspapers, images, and precinematic units in Baudelaire's writings, whereas additionally discussing the cultural background of those media quite often. The publication finds that Baudelaire was once no longer basically encouraged by way of the hot media, yet that he performed with them, utilizing them as frames of conception and methods of experiencing the area. His writings display how diverse media reply to each other and the way the conventions of 1 medium could be paraphrased in one other medium. for that reason, Baudelaire's Media Aesthetics argues that Baudelaire could be noticeable purely as an recommend of "pure poetry," yet as a poet in a media saturated atmosphere. It exhibits that mediation, montage, and stream are gains which are imperative 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 know-how, drawing on views from Walter Benjamin and Giorgio Agamben. Combining distinct learn with modern thought, the booklet 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
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. Or, if we focus instead on Poe as a writer, it is possible that he based his fiction on a modern phenomenon that he knew very well from the newspapers. The issue here is how the newspaper contributes to shaping our visible world; how it, so to speak, produces visibility.
He exclaims. However, it is not the unselfish act of making someone happy that excites the poetic subject, but rather the act of making a bad poet look stupid—by putting on a discarded, outmoded object. Thus, the commonplace expression of “making someone happy” is here used to cover up the malice he himself feels in respect to this possibility, or one could say the commonplace is used ironically. ”) He thus treats the halo as a concrete, material object that can be reclaimed by addressing the public through a poster.
Chapter 6 extends the perspective by discussing the afterlife of nineteenth-century media as metaphors in theories of modernity, and more precisely the use of media imagery in the writings of Marx, Freud, and Benjamin. 22 1 Newspapers What is a newspaper? First of all, it is a very ordinary object susceptible to passing unnoticed in most situations. We tend to forget that the newspaper was the first modern mass medium and a highly complex one. The various discourses and genres, the mixed ideology of truth-telling and entertainment, and the composite layout of the page make the newspaper a fascinating universe.