LEADER 02445cam a2200229 a 450
001 1164624
008 230926s2022 njua e b 001 0 eng
010 $a 2021948686
020 $a9780691166384$q(hbk.) :$cNT$1938
035 $aNO000235634
037 $b公共圖書館臺南分區資源中心
040 $aDLC$beng$cDLC$dTWTNM
050 4$aN6847
082 0 $a709.4409034$223
090 $a臺南市立圖書館
100 1 $aAlsdorf, Bridget.
245 10$aGawkers :$bart and audience in late nineteenth-century France /$cBridget Alsdorf.
246 30$aArt and audience in late nineteenth-century France
260 $aPrinceton :$bPrinceton University Press,$cc2022.
300 $a285 p. :$bill. (some col.) ;$c28 cm.
504 $aIncludes bibliographical references (p. [241]-273) and index.
520 $a"In the late nineteenth century, French artists increasingly turned their attention to a new subject: the crowded life and culture of cities. Painters such as Félix Vallotton, Pierre Bonnard, and Henri de Toulouse-Lautrec were fascinated by the street life, crowds, and spectacle of France's evolving urban scene, as were early filmmakers like the Lumière brothers. While the figure of the flâneur-the reflective and sophisticated outsider who observes and occasionally comments on culture and urbanism-is wellknown in French art and literature of the period, Bridget Alsdorf argues that this period also saw the introduction of a new character, the badaud, or gawker, an impersonal embodiment of the crowd itself, and a motif and archetype of what would become the modern viewer. In Gawkers: Art and Audience in Late Nineteenth-Century France, Bridget Alsdorf looks at the significantly increased production of crowd scenes in French art at the end of the century, particularly scenes of gawking or badauderie, which at this time were understood as a distinctly urban form of free theater. Gawkers abound in the art of this period, yet haven't received as much attention as the flâneur, their more individualistic literary equivalent. The book focuses on a group of artists and filmmakers who placed the "passive, susceptible vision of the gawker" front and center, overthrowing the flâneur as the quintessential modern subject. In doing so, Alsdorf demonstrates the shift in perceptions and representations of urban social dynamics, and what this evolution says about changing ideas of self and social engagement in modern France"--$cProvided by publisher.
650 0$aSocial distance.
650 0$aSpectators in art.
650 0$aArt, French$xThemes, motives.
653 $a人文藝術
653 $a文化創意