By Marit Grøtta
Baudelaire s Media Aesthetics situates Charles Baudelaire in the middle of 19th-century media tradition. It deals an intensive research of the function of newspapers, images, and precinematic units in Baudelaire s writings, whereas additionally discussing the cultural background of those media quite often. The booklet unearths that Baudelaire used to be now not only encouraged by means of the recent media, yet that he performed with them, utilizing them as frames of notion and methods of experiencing the area. His writings display how varied media reply to each other and the way the conventions of 1 medium should be paraphrased in one other medium. for this reason, Baudelaire s Media Aesthetics argues that Baudelaire will be noticeable simply as an recommend of natural poetry, yet as a poet in a media saturated setting. It exhibits that mediation, montage, and circulate are gains which are important to Baudelaire s aesthetics and that his modernist aesthetics could 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 p
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Extra info for Baudelaire's Media Aesthetics: The Gaze of the Flâneur and 19th-Century Media
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.
As a dominating medium, the newspaper provided frames for the interpretation of reality and thereby contributed to the production of visibility. Of particular interest in this regard is the collection of prose poems entitled Petits Poèmes en prose (also referred to as Le Spleen de Paris). Not only were these prose poems published in newspapers and reviews, but they also bear witness to Baudelaire’s dialogue with the newspaper’s form and genres. 24 Baudelaire’s Media Aesthetics A duel: Journalism versus poetry The rise of the commercial newspaper in the nineteenth century was a media revolution heralding today’s media situation in every aspect.
When he rejects the “unending thread of a superfluous plot,” the reference is to the newspaper feuilleton, which, according to Baudelaire, is burdened by an endless plotline that restrains the reader against his will. Emphasizing the fragmentary form of the prose poems, Baudelaire makes it clear that he will himself do without such a plot line. Thus, Baudelaire argues—scornfully—that the prose poems are better suited for the fragmented newspaper than the plot-based feuilleton. In doing so, he makes it clear what kind of texts the prose poems are competing with, and it is significant that his argument concerns form and function, not quality or status.
Baudelaire's Media Aesthetics: The Gaze of the Flâneur and 19th-Century Media by Marit Grøtta