his individuality. By contrast, the individuality of the badaud disappears, absorbed by the outside world, which ravishes him, which moves him to drunkenness and ecstasy. Under the influence of the spectacle that presents itself to him, the badaud becomes an impersonal creature; he is no longer a man, he is the public, he is the crowd. Walter Benjamin (following Fournel) contrasted the two figures: "In the flâneur, the joy of watching is triumphant. It can concentrate on observation; the result is the amateur detective. Or it can stagnate in the gaper; then the flâneur has turned into the badaud." See also Flâneur Rubbernecking Voyeur References Bibliography Walter Benjamin, The Arcades Project, Rolf Tiedemann, ed., Howard Eiland and Kevin McLaughlin, trans. (1999). Walter Benjamin, The Writer of Modern Life: Essays on Charles Baudelaire, Michael Jennings, ed., Howard Eiland, Edmund Jephcott, Rodney Livingstone, and Harry Zohn, trans. (2006). Christophe Gaubert, “Badauds, manifestants, casseurs. Formes de sociabilité, éthos de virilité et usages des manifestations," Sociétés contemporaines 12:21 (1995) Louis Huart, Physiologie du flâneur, (Paris, 1841). Gregory Shaya, "The Flâneur, the Badaud, and the Making of a Mass Public in France, circa 1860–1910," American Historical Review 109 (2004). Félix Vallotton et al, Badauderies parisiennes. Les Rassemblements. Physiologie de la rue, (Paris, 1896) A.K. Wettlaufer, "Paradise Regained: The Flâneur, the Badaud, and the aesthetics of Artistic Reception in Le Poème du Haschisch," Nineteenth-Century French Studies, 24:3-4 (1996). External links Centre National de Ressources Textuelles et Lexicales | "Badaud" (in French) Le Badaud | Une Autre Vision du Monde (in French) French words and phrases Psychogeography