Bohemians A Very Short Introduction

The nineteenth-century Romantic myth of Bohemia emerged to describe the new conditions faced by artists and writers, who after the previous system of aristocratic patronage collapsed were free to move around in search of success. Yet most real-life bohemians have scant interest in commercial gain and are not so itinerant after all. Tracing these contradictions in bohemian cultures and lifestyles from the early nineteenth century to the present, David Weir explores the myth of Bohemia as it developed in various forms of expression--novels, plays, operas, films--and in key cities, including Paris, Munich, and New York. Weir concludes with a discussion of the legacy of Bohemia today as something outworn and dying, an exhausted tradition that somehow continues. The Romantic myth of Bohemia originated in the early nineteenth century as a way of describing the new conditions faced by artists and writers when the previous system of aristocratic patronage collapsed in the wake of the Age of Revolution. Without the patron system, the artist was free to move around, to seek an audience wherever fortune beckoned. This marketing model likening the artist''s vagabond career to the "gypsy" life helps to explain part of the bohemian myth, but not all of it. Most bohemians have scant interest in commercial gain and are not so itinerant after all, confining their movements to down-market urban neighbourhoods where the rent is cheap and the morals are loose.This Very Short Introduction traces the myth of Bohemia through its various fictional manifestations, from Henry Murger''s novel Scenes of Bohemian Life (1851) and Giacomo Puccini''s opera La Bohème (1896) to Aki Kaurismäki''s film La vie de Bohème (1992), and Jonathan Larson''s musical Rent (1996). It goes on to examine the history of different bohemian communities, including those in the Latin Quarter of Paris, the Schwabing section of Munich, and the Greenwich Village neighborhood of New York. David Weir also considers the politics of Bohemia and traces the careers of the artists Gustave Courbet and Pablo Picasso and the great chanteuses Yvette Guilbert, Fréhel, and Edith Piaf in the Montmartre neighborhood of Paris, where a rich tradition of popular culture indebted to Bohemia also developed. Weir concludes with a discussion of the legacy of Bohemia today as something outworn and dying, an exhausted tradition that somehow continues.