Overview

The flaneur is a cultural and literary phenomenon usually associated with nineteenth–century Paris, but the type also exists in the artistic and literary panorama of other major European capitals, such as London, Berlin, and Moscow. Despite massive recent interest in the figure of the flaneur in scholarly studies, analyses about the nineteenth–century British analogue are often fragmentary, appearing in the form of isolated articles. However, there is an abundant amount of nineteenth–century novels, sketches and journalistic essays which offer remarkable and hitherto overlooked accounts of the British metropolis, and which frequently include the figure of the flaneur as a central character or the topic of flanerie as a theme.This book explores a great array of texts, making an essential contribution to our knowledge and understanding of the prehistory or, rather, history of the British flaneur from the early eighteenth century to the early twentieth century, with a special focus on the nineteenth century. The flaneur is looked at as a figure in which the development and dynamics of the modern metropolis and its impact on the literary discourse are manifested from a formal, as well as thematic, perspective.

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9781527516205

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Isabel Vila–Cabanes studied English Philology at the University of Valencia, Spain, and the University of Ghent, Belgium. She received her PhD from the Friedrich Schiller University Jena, Germany, where she has been a faculty member since 2009. She is the author of Re–Imagining the Streets of Paris: The French Flaneur in Nineteenth–Century Literature (2016) and has published extensively on the topic of flanerie. She has written articles on Dickens, the grotesque, and iconicity, including ""Dickens in Popular Culture: Reception and Adaptations of his Works in Contemporary American Adult TV Series"" (2014), ""Reading the Grotesque in the Works of Charles Dickens and Jonathan Swift"" (2014), and ""Iconicity, 'Intersemiotic Translation' and the Sonnet in the Visual Poetry of Avelino de Araújo"" (2017).

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