Anthony, Kathryn H. “The Shopping Mall: A Teenage Hangout.” Adolescence, vol. 20, no. 78,
1985, pp. 307–311., doi:10.1177/0907568200007003003.
When looking at the relationship between the individual and the city, it is particularly interesting to note the positionality of the subject in terms of urban space and how they interact with the environment. Sometimes though it can be a bit tricky as the city is in a permanent state of flux. Nevertheless, one group that is at ground zero, occupying the perfect vantage point to observe as well as create the urban vibe are teenagers in shopping malls. Although, not part of the original intention of city planners in their design of the public space, the mall acts as kind of a social bridge between childhood and adulthood.
When searching for articles, I was drawn to the title of this piece. The idea of a flaneur, in my mind, has always been a concept that was deemed to be outmoded, not relatable to our time, however, after reading the article, I now have a broader perspective on the concept and understand the way it can be applied to the present day. This piece argues for the importance of shopping malls to the urban adolescent lifestyle and suggests that malls are used by scores of teenagers as a space to roam around freely as part of their socialization. My favorite quote from this piece would have to be “If Norman Rockwell were alive today and still painting scenes of youthful America, he would have to spend most of his time in a suburban mall. Video arcades, fast-food stalls, and great walls of retail stores are hangout, social center, and recreation for today’s youth” (Anthony 307). Malls can be thought of simultaneously as private and public space with a mix of both interaction and transaction taking place. With the rise of social media, it is nice that teenagers still have a place where they can stroll aimlessly, even though some may argue that the youth have no intrinsic right to the space. Research has shown that Americans spend the most time in malls apart from their home and job (Anthony 308). In addition, the article cited a study that found the main reasons teenagers go to the mall, aside from shopping ,include eating, playing video games, people watching, walking around and talking (Anthony 310). It surprised me to learn that the amount of money spent at the mall does not correlate with the amount of time spent there. Being at the mall is more of a way to pass time than to actually shop. The mall is a “third place” between home and school where teenagers are free to express themselves and enjoy the company of others — a place where they are able to be themselves –children.
Elkin, Lauren. “A Tribute to Female Flâneurs: the Women Who Reclaimed Our City Streets.”
The Guardian, Guardian News and Media, 29 July 2016, www.theguardian.com/cities/2016/
jul/29/female-flaneur-women-reclaim-streets.
Image called American Girl in Italy by Ruth Orkin, 1951 from The Guardian.
The mythical literary figure “le Flaneur” was originally popularized by the poet Charles Baudelaire as a French male character strolling aimlessly amidst the arcades and city streets of 19th century Paris. He describes the Flaneur as a bourgeois “man of the world,” one who possesses a broad understanding of society and all its intricacies. The Flaneur’s impressions of urban life create alternate visions, ones that are not necessarily realistic but rather evocative to describe sociocultural conditions in new and meaningful ways. Baudelaire’s 19th century streetscape of bourgeois interiors and french arcades framed the city from a particular male perspective. One where women lacked access to the city streets and were looked upon as mere objects to the delight of flaneurs like Baudelaire. It is quite evident in Baudelaire’s world that except for prostitutes, beggars, and shop girls, the female equivalent to the flaneur did not exist. Women were never seen as equals or as having a rightful place in the public arena of the city. This perception persisted well into the 20th century, and as a result, women did not share the same privilege of anonymity to wander the city, unaccompanied, without purpose, nor were they allowed to follow their interests and inspirations.Without this freedom, women were repressed and impeded from reaching their full potential. Individuation was seen as only existing for white male subjects. In the article, Elkin argues that “Perhaps the answer is not to attempt to make a woman fit a masculine concept, but to redefine the concept itself” (Elkin) and the notion that there was always a flaneuse passing Baudelaire on the street, he just failed to realize it (Elkin). A key difference between the male and female flaneur is that the flaneuse does not wander the city aimlessly, she has a particular task– to explore the city by going where she is not supposed to go. The flaneuse challenges societal expectations and norms by living life on her own terms, doing away with gender bias and the elite male mentality of the past.
Tribunella, Eric L. “Children's Literature and the Child Flâneur.” Oral History Review, Oxford
University Press, 14 May 2010, muse.jhu.edu/article/380763.
This article contemplates the whimsy of the child’s gaze and her urban wanderings as might be found in children’s literature. It is not something I ever considered but alas, the flaneur and child do share a multitude of similarities. Benjamin argues that the city is “a place of both nostalgia and novelty,” (qtd. in Tribunella) it can be said that the child is a manifestation of these ideas. The flaneur roams the city in awe and with a curiosity in the same way as a child might act at an amusement park. The notion that children are considered to be vulnerable, pseudo-citizens, may actually be an advantage for them. This characterization allows them to roam the city unnoticed and allows us to gain the perspective of seeing things “through the eyes of a child” (Tribunella). It gives us the opportunity to see the world through an innocent and curious gaze, a unique interpretation of urban space that only a child could express. This article also touches on the idea that adults have to take on the role of the child flaneur when writing children’s literature. It seems as though most children’s books have ties to the city and urban life. New York, the country‘s most densely populated city seems to be the epicenter for publications and is the primary setting for much of children’s fiction. Tribunella suggests that since the eighteenth century, the city has been unsympathetic and callous toward its citizens, especially the children. He proposes that “if the child can survive and even thrive in the city, despite being weaker and less experienced, then perhaps anyone can” (Tribunella). The child would be the ideal flaneur, especially if we work to educate and keep them protected from dangers inherent in the uncertainties of modernity. After all, they are the future and remind us of the important things we may, at times, overlook; a great deal is expected from them.
Campbell, Fiona Kumari. “Crippin' the Flâneur: Cosmopolitanism and Landscapes of
Tolerance.” By Lawrence J. Trautman :: SSRN, 22 May 2010, poseidon01.
ssrn.com/delivery.php?ID=107064121121026004084
Much like the female flaneur or the child flaneur, individuals with disabilities “may lose person status because they fail to meet certain criterion” (Campbell 78). Common traits that flaneurs and people with disabilities share include the enigma of alienated belongingness; they are a part of the group without actually holding full membership in it. Disabilities can limit how individuals interact with space. For example, let’s focus on New York City in particular as a “world class city” and an important city in terms of flaneurie. Estimates from this article suggest that nearly 20% of the American population is disabled. Accessibility is a pertinent question that people with disabilities constantly ask themselves; everyone has unique needs. Transportation services in New York are a “nightmare” for the disabled. When we think about disabilities and accessibility we often think about individuals in wheelchairs, however, individuals who are impaired fit in a much larger category. Some need sign language interpreters, braille, audible speakers, functioning elevators, etc. Trip planning becomes a central part of their lives and limits the interactions they can experience in the city. The frustration does not just stop at transit services, sidewalks are a major concern as they are riddled with potholes and are extremely crowded. Just to navigate through the crowds can be a major source of anxiety and is extremely daunting. In addition, the ambivalence and ignorance of able-bodied people is often another obstacle that the disabled must combat. People with disabilities are consistently made to feel unwelcome in public spaces as their impairment is viewed as a demand for compassion rather than as a civil rights issue. Working to make the city more accessible for the disabled will help to abolish the insurmountable barriers that currently exist in order to make them feel as though they are an integral part of society rather than forgotten on the periphery.
Bazán, Emilia Pardo. “En Tranvía.” Una Reputación – Juan José Arreola – Ciudad Seva – Luis
López Nieves, ciudadseva.com/texto/en-tranvia/.
Emilia Pardo Bazan is a writer who breaks with tradition to challenge rigid social norms and raise the status of women in her work. In her short story, “En tranvia,” Bazan uses Flaneurie initially through the narrator who takes on the role of an observer with a watchful eye toward individuals who are indifferent to his presence– This is how she lives her daily life. Inside the tram she is able to read the city in the faces of the passengers; how they are dressed, and the daily routine of their middle-class lifestyles without ever conversing with them. It is as though she is looking at a charming photograph, perfectly displayed, which only serves as a backdrop to the story. The ambiance suggests “emanaciones de flores, vaho de cuerpos limpios y brisas del iris de la ropa blanca” (Bazan). However, such an idyllic setting is abruptly disrupted by the author’s clever surprise ending when she reveals her pessimistic message. Here, Bazan exposes the male gaze of the Flaneur by giving into the demands of the poor woman to be heard, revealing the true nature of her suffering. The woman exposes the duality of the social class and the appalling conditions under which she must endure. En tranvia masterfully breaks with literary convention giving a voice to the less fortunate as well as presenting a realistic glimpse of the tension which exists between the social classes in Spain. Additionally, the tram, as a new form of transportation, completely changes the inhabitants experience of the urban landscape but, in doing so, forces opposing classes to deal with the “other” in society. She also suggests that we, as readers, are no better than all the other passengers on the train, we have the privilege of being able to read (higher class) however, we do not take action.
Laforet, Carmen. Nada Carmen Laforet. Editoral Diana, S.A., 1948.
As the 20th century progressed, the european metropolis was becoming increasingly accessible to women, and although the city remained a highly masculine space, women’s access to it was becoming less restricted. The novel “Nada,” by Carmen Laforet is a compelling example of a young woman’s experiences in post Civil War Barcelona. Its portrayal of a crushed, starving middle-class family amidst the squalor of a Barcelona neighborhood exposes the truth about the depths of poverty and hardship experienced by the Spanish people.
The young protagonist, Andrea, remembers the Barcelona of her childhood as a place full of “mucha gente bebiendo refrescos en un café” (Laforet 2) and recalls that “en aquel tiempo el mundo era optimista” (Laforet 2). However, on her return to the family home, “una casa de brujas,” (Laforet 8) she discovers it has been nightmarishly transformed and begins to carefully record her impressions of city life on Calle Aribau. From memory she recalls, “Las paredes tiznadas conservaban la huella de manos ganchudas, de gritos de desesperanza. Por todas partes los desconchados abrían sus bocas desdentadas rezumantes de humedad” (Laforet 8). The reader is treated to a sensory glimpse into Andrea’s world of urban sensations, even though, as a Flaneuse, her naivete creates a discrepancy between what she remembers and how she interprets it. In addition, delusions brought on by chronic hunger alter her perceptions, "Empecé a ver cosas extrañas como los que están borrachos" (Laforet 8) and act to undermine her fragile sense of identity.
Andrea longs for the freedom that comes with being male. She wants to experience all the city has to offer, however, traditional gender roles prohibit this from coming to fruition. Moreover, her vehement aunt Angustias considers her a “demon of rebellion,” declaring regretfully that, “¡Oh! ¡Hubiera querido matarte cuando pequeña antes de dejarte crecer así!" (Laforet 39). Her will is tested many times throughout the novel but the fortitude she displays is sufficient to overcome the overwhelming challenges she faces during her stay in Barcelona. Andrea’s insistence on moving about the city despite its many constraints sets a tone of defiance which challenges gender roles and the use of masculine space. She can be seen as a flaneuse but with “masculine capabilities” seeking to upend and re-define literary conventions.
Alas, Leopoldo. Doña Berta. Suma De Letras, 2001.
Another character study that utilizes Flaneuse as a literary device can be found in the novel, Dona Berta written by Leopoldo Alas. Set during the first Carlist War, the novel deals with the ideological struggles between modernity and tradition, as well as offering a depiction of both rural and urban life in Spain. Through a seemingly objective narrator, Alas follows the movements of the protagonist from her idyllic country home, symbolizing life during the “ancien regime,” on a journey to the hectic and impersonal city of Madrid. After meeting an artist who is passing through her neighborhood, she immediately feels a special connection to him. He gives her two paintings, a portrait of herself and a copy of a portrait of a subject who she believes to be her son. Soon after, she mortgages her house to venture into the city in order to attempt to find her son and the original painting. Once there, Dona Berta is confronted by the isolating anonymity of urban life which causes her to lose her strong sense of class identity. Unfortunately not everyone is fit to live in the city. The words, “temia a la multitud…., pero sobre todo temia el ser atropellada pisada triturada por caballos por ruedas,” (Alas 349) describe Dona Berta’s uneasiness and sadly foreshadows her fate. Tragically, the choices Dona Berta makes, as a result of her naive, romantic worldview, ultimately leads to the loss of everything she possesses– her family, her cat and even her life. Alas paints a moving portrait through the development of setting and character analysis with a strong emphasis on the extreme living conditions that exist in 19th century Spain. Through the aging eyes of the protagonist, the reader experiences the tumultuous transformation underway in the country toward a liberal urban way of life.
Feldmann, Bruce Max, and Tony H. Carding. “Free-Roaming Urban Pets.” Health Services
Reports, vol. 88, no. 10, 1973, pp. 956–962., doi:10.2307/4594959.
In the spatial ordering of things, animals, like humans are allowed to roam freely in the city and this fact, in the minds of animal lovers, presents little or no concern. Nevertheless, the authors of this article, raise some serious objections to all off leash flaneurial style animals. His concerns are categorized in three classes- “ecological,” “medical,” and “social.” The authors mention the threat posed by the transmission of disease from animal to human and reports that there are about sixty-five types of diseases that animals can transmit to humans. Forty of these diseases exist in the United States, and include rabies, ringworm, and bubonic plague. Other areas of concern are animal to animal transmission, as well as the nuisance of pollution from animal feces. Another issue is the spread of disease through animal bites, specifically from dogs which account for eighty-four percent of bites. “The Center for Disease Control (CDC) suggest[s] a national animal bite rate of at least 1 reported bite per 250 persons annually” (Feldmann 957) with children accounting for the highest percentage of victims.There is also a substantial amount of damage produced by stray animals that can destroy property and create havoc by overturning garbage cans which in turn attracts rats. Combining free roaming dogs and humans in highly populated cities proves to be a dangerous mix and accounts for an increased level of anxiety when these dogs cannot be captured for treatment.
Furthermore, the exact numbers are unavailable regarding the extent of animals that are killed on the road, but it is certainly an area that needs greater attention. “Only about 25 percent of surrendered and captured pets” (Feldmann 959) are adopted and placed in a new home. How can we reduce the number of unwanted pets? The article proposes a few suggestions on ways to reduce the numbers — discourage owning pets by imposing punitive taxes, encourage owners to spay or neuter their pets, or prohibit the abandonment of pets. In addition, school children should be educated about the potential risk regarding stray pets, and how to avoid being bitten since they are the group at the most risk. It seems that stray animals pose a greater risk than previously thought to our community.
Merino, Olga. “Carme García: La Mirada Tras El Visillo.” Elperiodico, El Periódico, 15 June
2018, www.elperiodico.com/es/barcelona/20180615/carme-garcia-barcelona-
Exposicion-fotografia-6879729.
Felski, Rita. The Gender of Modernity. Harvard University Press, 2005.
According to sociologist Georg Simmel, one of women's crucial contributions, historically, has been to keep the home ''in its state of serene, self-contained completeness,'' (qtd. in Rita 49) but, at the same time, concedes that it is problematic to impose strict criteria on the female personality in light of male objective culture. An example of a woman who refused to hide away from the world was photographer Carme Garcia. Her life consisted of the daily routines of a dutiful housewife in the “barrio.” She expressed herself in the only way she knew how, through the lens of a camera. Her female gaze studied the city from rooftops, at a time when women were dissuaded from pursuing artistic creation. The photographs presented a romanticized view of the street, capturing her subjects in a ‘decisive moment’ that made her pictures enduring. Garcia had to deal with multiple barriers put in place that limited her artistically, specifically at home, where her husband set limits on her creative activities. She photographed ordinary subjects and events, often abolishing the division between interior and exterior public, semi-public and private spaces. She was a true Flaneuse, who had to deal with the impediments that existed during the Franco Regime, a time which was especially restrictive for women in the city. All her photographs were taken from inside the safety of her apartment on Avinyo Street in Barcelona. Although she was limited by being inside and not being on the street, she took on the role of being an observer and told a unique story from her perspective of the city. Nonetheless, her tenacity allowed her to create images that defined the city in terms of masculine space, highlighting gender roles and the lack of rights for women.
에레혼 . “Joan Colom, Fiesta Mayor, 1960 Pic.twitter.com/5QqNxbRo9h.” Twitter, Twitter, 1 Jan. 2016, twitter.com/erewhonb/status/682731434792976384.
Another influential photographer who acted as a flaneur in 20th century Spain was Joan Colóm. As someone who was self taught, Colóm described his photographic techniques as untraditional. He focused on social photography and took photos that he deemed exciting. Many of his photos were taken in “el Barrio Chino” or the infamous neighborhood known as el Raval in Barcelona during the years 1957-1961. It is an area known for crime, drugs and prostitution during Franco’s dictatorship. Although his focus was on the controversial aspects of the city including the underworld of crime, prostitution and extreme poverty with a large mix of characters, images of innocent subjects such as children playing in the street during the day were also photographed. He took pictures in his spare time and began photographing without aiming the camera in an attempt to remain discreet — a true definition of a flaneur. Photography is a way to see and interpret the world by creating a sense of nostalgia embedded in a moment in time. We assign a value to photographs in the way they relate to our experiences. The act of taking a picture is quite flaneuresque, as it necessitates a form of control over the subject and surrounding space. In the photo above, the central focus of this image is a man seated. We see this because the woman's legs are blurred. The secondary theme in this photo is the boy next to the man. What is the relationship between the man and child? Are they related? Is it appropriate to introduce the child to this form of entertainment? Can the child's presence offer a more reasonable explanation for the man's reaction? It seems that this image deals with the voyeuristic pleasure that the man draws from viewing the female form. The idea that there is only a suggestion of the dancer may indicate the photographer’s intention to comment on the loss of women’s identity, as well as their objectification.