By Marit Grøtta

ISBN-10: 1628924403

ISBN-13: 9781628924404

Baudelaire s Media Aesthetics situates Charles Baudelaire in the middle of 19th-century media tradition. It deals an intensive examine of the position of newspapers, images, and precinematic units in Baudelaire s writings, whereas additionally discussing the cultural background of those media often. The publication finds that Baudelaire used to be now not simply encouraged by means of the hot media, yet that he performed with them, utilizing them as frames of conception and methods of experiencing the area. His writings show how assorted 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 may be visible simply as an suggest of natural poetry, yet as a poet in a media saturated setting. It exhibits that mediation, montage, and circulation are positive aspects 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 p

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Not the least, it may change the way we read the renowned “preface” to prose poems, which has been granted, to a certain extent, the status of a poetics of the prose poem. 48 In spite of the clearly ironic undertone of the piece, and Baudelaire’s confession in the last paragraph that he has not been able to fulfill his ideal, but in fact has written something entirely different, this ideal description of the prose poem has to a large extent influenced the understanding of the genre. Accordingly, the prose poem has 34 Baudelaire’s Media Aesthetics often been associated with romantic literary ideals; it has been considered a miraculous blend of prose and poetry, a supreme piece of poetic prose.

When the first tabloid paper, Le Petit Journal, was launched in Paris in 1863, le fait divers played a prominent role. Because the newspaper was not sold by subscription, but copy by copy on the street, it had to sell itself every day, and the commercial pressure consequently increased. 25 The main ingredients of le fait divers were curiosities, gossip, and bloody events rooted in crime journalism and the kind of unverified, sensational messages from foreign countries that are often referred to as canards (in German, Ente).

There, Baudelaire asserts that contemporary Paris is full of poetic motifs. This passage is renowned because Baudelaire in this manner expands the field of poetry, inaugurating an era where “prosaic” motifs will also have a place in poetry. But more importantly in our context is his claim, a few paragraphs above, concerning the role of the newspapers 32 Baudelaire’s Media Aesthetics in this respect. 44 A few lines later, Baudelaire underlines that we do not usually see these motifs because they are so close to us, enveloping us like the atmosphere: “Parisian life is rich in poetic and wonderful subjects.

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Baudelaire's Media Aesthetics: The Gaze of the Flâneur and 19th-Century Media by Marit Grøtta

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