Inhaltsverzeichnis

• BEGINN
• Acknowledgments
• IntroductionAbsence in Motion: From Memory to Walking the Post-9/11 City
• 1 Mapping the Flâneur: European Origins, American Developments, and the Post-9/11 City
• 1.1 The Flâneur: Portrait of a Complex Figure
• 1.2 Walking America: The Flâneur and/in the American Urban Imaginary
• 1.3 The Contemporary Flâneur: Urban Spectatorship in the Postmodern City
• 1.4 New York, Urban Walking and the City after 9/11
• 2 De-Territorializing the Flâneur: Transnationalism, Islamophobia, and Flânerie, in Teju Cole’s Post-9/11 New York
• 2.1 Re-territorializing 9/11
• 2.2 Julius as Cosmopolitan Flâneur
• 2.3 Beyond New York: Cole’s Anti-American Radicalism and Islamophobia from the United States to Brussels
• 3 Post-9/11 New York and the Post-Apocalyptic Cityscape: Flâneurs and Zombies in Colson Whitehead’s Zone One
• 3.1 From “Ground Zero” to “Zone One:” The Flâneur and the Post-Apocalyptic Cityscape
• 3.2 A Grotesque Parody: Zombies as Degenerated Flâneurs
• 4 Walking to Heal: Childhood and Post-Traumatic Recovery in Jonathan Safran Foer’s Extremely Loud & Incredibly Close
• 4.1 The Child as Flâneur in Foer’s Aftermath of 9/11
• 4.2 Paths of Solace: Walking as Trauma Recovery
• 5 The Postmodern City and Its Discontents: Spectacle, Capital, and the Illusion of Movement in Cosmopolis
• 5.1 The Flâneur Reimagined: Driving through the Postmodern Metropolis
• 5.2 Cosmopolis and the Shadowy Presence of 9/11
• 6 Flânerie and the Making of Memory: Urban Landscape, Architecture, and 9/11 in The Submission
• 6.1 Memory and the Construction of Urban Space
• 6.2 Flânerie as a Counternarrative to 9/11’s Official Memory
• Conclusion: Flânerie After the Fall
• Bibliography