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• W746548982 abstract "Via a common slippage, we assume that spaces are domestic spaces. Thus, Gaston Bachelard opens The Poetics of Space with a series of images that equate space, in its unity and complexity with house, which provides shelter, protected intimacy, and a sense of inhabiting to the people who occupy it (3-4). This complex of figures-interior, interiority, inhabitation-assigns spaces the primary function of harboring human beings and figuring their personalities via metaphors of interiority as enclosed space. When it is a home, space provides refuge and comfort, originating the self. However, need space always be domestic space, as suggested by Bachelard and much of nineteenthcentury prose fiction? As we will see, in the pre-realist and picaresque novels of the eighteenth century, spaces are primarily spaces of storage rather than of habitation, and this difference has implications character subjectivity as the form of the novel.The idea of home as the primary space is given a history by Walter Benjamin and Leo Spitzer. Separated by only a few years, their accounts specify that inside space only becomes an as a result of social and economic forces of modernization, industrialization, and urbanization. In Paris, Capital of the Nineteenth Century, Benjamin writes that under Louis Philippe, for the individual, of are the first time opposed to of work. The former come to constitute the interior (19). Human beings are transformed into private individuals] when places of dwelling come to be seen as interiors, spaces defined in opposition to other, public spaces, such as of work and of economic exchange. According to Benjamin, the enables a retreat from the social world, sustaining its inhabitants' fantasy of a space free from the demands of a social reality: individual, who in the office has to deal with realities, needs the domestic to sustain him in his illusions (19). As wage-labor comes to take place primarily outside the home, the domestic provides an asylum ( 19) from commodification. The bourgeois man does not feel at home in the broader world but can create a sheltering in the domestic home, which protects and sustains the fiction of a private, self-determining identity.Leo Spitzer, writing in 1942, further specifies that the nineteenth century sees the development of the domestic as a compensatory formation the loss of a sense of being at home in the broader world: world-embracing, metaphysical cupola that once enfolded mankind has disappeared, and man is left to rattle around in an infinite universe (195). In Spitzer's account, the domestic space of an individual becomes a milieu, or personality-sustaining environment, after the loss of a sense that the provides an enveloping environment individuals. Home is the once the world becomes exterior. Furthermore, Spitzer specifies that these interiors must be furnished with objects in order to successfully shelter the individual. The cozy home is not an empty space but rather, according to Spitzer, milieu of an individual is 'full of a number of things' ... [and] the individual thinks of himself ... as surrounded by things, familiar things-each of which goes to make up the final quality of his particular milieu, and on each of which he leaves some imprint of himself' (195). The domestic comprises a set of objects that coalesce into an ensemble in which the human individual is ensconced and by which he is mirrored. The inhabitant of such a milieu is Benjamin's etui mensch, the man defined, as instruments are, by being cushioned in a velvet-lined case, or etui, that allows no excess space, no rattling around.1 The functions as a case when it stills the motion of its contents, both human and nonhuman.Aesthetic depictions of this kind of space appear with increasing frequency in the nineteenth century. …" @default.
• W746548982 created "2016-06-24" @default.
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• W746548982 date "2014-12-01" @default.
• W746548982 modified "2023-09-23" @default.
• W746548982 title "Bundles, Trunks, Magazines: Storage, a Perspectival Description, and the Generation of Narrative" @default.
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