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Preface | ||
Acknowledgments | ||
1 | Introduction | 1 |
Social decoding | 11 | |
Psychological decoding | 17 | |
Textual decoding | 30 | |
2 | Correspondences versus beauty | 43 |
The romantic cycle | 43 | |
The beauty cycle | 53 | |
Metonymy prevails | 67 | |
3 | Spleen and evil | 80 |
"Spleen and Ideal" | 80 | |
The spleen cycle | 86 | |
The cycle of evil | 96 | |
4 | Romantic temperament and "Spleen and Ideal" | 111 |
The psychodynamics of experience | 111 | |
The early art criticism | 116 | |
The psychopoetics of "Spleen and Ideal" | 124 | |
5 | Modernist imagination and the "Tableaux Parisiens" | 137 |
The later art criticism | 139 | |
The introductory poems | 148 | |
The street scenes | 157 | |
The domestic scenes | 166 | |
6 | Decoding and recoding in the prose poems | 177 |
Historical Others | 177 | |
"Moral masochism" | 186 | |
Historical masochism | 190 | |
Borderline decoding | 197 | |
Narcissistic recoding | 209 | |
7 | The prose poem narrator | 221 |
Historicizing borderline narcissism | 221 | |
Super-ego failure | 222 | |
Ego disintegration | 230 | |
Bohemia at the heart of bourgeois society | 236 | |
Modernity as prostitution | 242 | |
The prose poem narrator as borderline narcissist | 248 | |
The prose poem narrator as programmer | 251 | |
8 | Conclusion | 258 |
The metonymy of real reference and desire | 266 | |
The historical emergence and dispersion of the imaginary | 267 | |
The split structure of social life in modernity | 274 | |
Notes | 278 | |
Select bibliography | 296 | |
Index | 303 |
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