- Tapa blanda: 464 páginas
- Editor: Johns Hopkins University Press; Edición: Johns Hopkins P. (3 de septiembre de 1999)
- Idioma: Inglés
- ISBN-10: 0801860636
- ISBN-13: 978-0801860638
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº289.961 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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Bohemian Paris: Culture, Politics, and the Boundaries of Bourgeois Life, 1830-1930 (Inglés) Tapa blanda – 3 sep 1999
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Descripción del producto
"The central attraction of this study lies in its imaginative grasp of these remarkable denizens (both declared and undeclared) of bohemia. Mr. Seigel has written a cultural history that respects the complex entanglements found in both life and art, and that is no mean feat."(Arnold Weinstein New York Times Book Review)
"The research that went into Bohemian Paris turns up some treasures―the very stuff of history... This highly readable book probes further than any other I know into the reciprocating movements that connect and distinguish bohemia and bourgeois."(Roger Shattuck New York Review of Books)
"This is an enormously useful approach to a complex phenomenon... It also brings together a dazzling assortment of individuals, from such well-known figures as Baudelaire, Courbet, Zola, Manet, Verlaine, and Rimbaud to such relatively obscure figures as the writer Henry Murger and the cabaret owner Emile Goudeau."(Jay Tolson Nation)
"It deserves to be read... for the skill with which it explores an ever-interesting tract of cultural history."(John Gross New York Times)
Reseña del editor
Exotic and yet familiar, rife with passion, immorality, hunger, and freedom, Bohemia was an object of both worry and fascination to workaday Parisians in the nineteenth century. No mere revolt against middle-class society, the Bohemia Seigel discovers was richer and more complex, the stage on which modern bourgeois acted out the conflicts of their social identities, testing the liberation promised by post-revolutionary society against the barriers set up to contain it. Turning life into art, Bohemia became a space where many innovative and original figures―some famous, some obscure―found a home.Ver Descripción del producto
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1. The book has a maddeningly repetitive rhythm. Each chapter focuses on a particular exemplar of Bohemia and analyzes his life and work. Each chapter draws the same conclusions about the conflicts between the individual and society, between artistic and financial advancement. After a while the stories all began to blur. And the trope of a single man (sometimes two) exemplifying Bohemia at a certain point in time is not terribly convincing.
2. I am fairly familiar with Parisian and French history, but this book assumes a great deal of knowledge that I didn't have. It was very hard to contextualize much of the book because the larger history was never laid out. This is clearly not the aim of the book - it traces a particular phenomenon, not a city or a country. But still, I could have benefited enormously from some sketches of the political and social situations in Paris over the course of the period treated here.
3. Even if women were only models and lovers in Bohemian Paris, even if those female artists and personalities that lived were overshadowed by their male peers, this book is glaringly uninterested in treating women in depth. Given the structure mentioned above (each chapter about a male figure) it is perhaps inevitable that women are not written about with anywhere near the complexity or interest as the men. Which is a shame, because it leaves out so much of the world of Bohemia.
The scholarship is impressive given its limits. But these limits are not insignificant.
This book was well written, entertaining, and contained some little known details for these well known and well read artists. The Exhibition was planned to highlight "Le Chat Noir", the caberet where many artists gathered just before the turn of the century, and the book gives life to the Caberet scene in Paris, as well as the total Bohemian scene there in that time frame.
This book was so good in many other ways, that every one of the artists decided to read the whole book. I highly recommend it.
Over the years, I thought of Seigel's analysis on occasion - for instance, when reading plaintive complaints about the "misuse" of rock in TV commercials. But I didn't bother to pick up the book again until reading a new book with "bohemian" and "bourgeois" together - Brooks' "Bobos in Paradise" - which does not cite this book. Hmm. It's very true that Brooks may simply be a keen observer - after all, our intellectual culture is a direct descendant of that discussed by Seigel. So let's leave it at that - and suggest that anyone seriously interested in "Bobos" would do very well indeed to read this volume.