And here we see how a specifically modern aesthetic culture in nineteenth-century Paris came about, not in opposition to commercial popular culture, but in close alliance with it.
Popular Bohemia revises dominant historical narratives about modernism from the perspective of a theoretically informed cultural history that spans the period between and In doing so, it reconnects the intellectual history of avant-garde art with the cultural history of bohemia and the social history of the urban experience to reveal the circumstances in which a truly modernist culture emerged.
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Popular Bohemia: Modernism and Urban Culture in Nineteenth-Century Paris by Mary Gluck (review)
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Sonn, Mary Gluck. Cambridge: Harvard University Press.
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Mary Gluck had the difficult task of writing this book under the long shadow cast by Jerrold Seigel's magisterial history Bohemian Paris: Culture, Politics, and the Boundaries of Bourgeois Life, — Several perceptive essays cumulatively demonstrate that urban popular culture was inseparable from the varying presentations of self that constituted bohemia.
Gluck argues that bohemian modernists did not retreat into their private psyches, and in contrast to Seigel she stresses their relationship with popular rather than bourgeois culture. In fact, Wilson makes both these Most users should sign in with their email address. If you originally registered with a username please use that to sign in. To purchase short term access, please sign in to your Oxford Academic account above.
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