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Baudelaireâs <i>Salon de 1846</i> appears to be devoted to the textual transposition of visual experience. Yet the text features a coherent body of tropes pertaining to the sense of tasteâthe physiological sense of flavor perceptionâand the gastronomic field more generally. These, I argue, are central to Baudelaireâs attempt to engage with a non-elite and non-specialist audience. The gustatory tropes bespeak the influence of journalism on the <i>Salon de 1846</i>, and in particular a contemporaneous strand of âgastronomicâ art criticism: the 1840s âBoulangerie du Louvreâ series from the âpetit journalâ <i>Le Tintamarre</i>, known and contributed to by Baudelaire. Through a comparative textual analysis of the two critical works, I show how Baudelaire adopts and adapts these culinary tropes. While <i>Le Tintamarre</i> uses the sense of taste to satirize the Salon, Baudelaire employs it to conceptualize and heighten the sensorial and corporeal pleasures of art for a bourgeois readership.
Nineteenth-Century French Studies – University of Nebraska Press
Published: Oct 12, 2013
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