Walter Benjamin famously declared that ‘the nineteenth century was more fervently addicted to the dwelling place than any other century’ (1999, 220). The interior has, over the last few decades, attracted scholars from a variety of disciplines, all seeking to understand its place in the history of modernity. From art history, cultural studies, design history, to architecture and literature, scholars have been questioning the role of the domestic interior and interior space in the formation of modern art and modern identity. A large body of recent criticism has thus enhanced our understanding of the importance of the nineteenth-century domestic interior from perspectives such as gender, aesthetics, modern design and social practice and the operation and influence of spatial imageries. Drawing upon well-known aesthetic and philosophical treatises on the interior from Baudelaire and Duranty to Benjamin and Arendt, this scholarship has emphasized the significance of the domestic interior in terms of the creation of the modern world, which, like the domestic interior, revolved around new and shifting tensions that were established between inside and out, private and public, self and other, male and female. Furthermore, the formal language and subjects of modern art are indebted to the domestic interior. Conceived in the domestic interior, they reflected the latter’s ambiguities and tensions as those of modernity itself. Ensor’s painting Une Coloriste (1880, Brussels: Royal Museum of Fine Arts) in its merging of artist and sister, spectator and picture within a studio-cum-home offers itself as an example of how the representation of the interior may be understood as a way to navigate modernity. Together, the multiand interdisciplinary contributions to this volume seek to add to the rich body of existing criticism, by addressing a number of fascinating and somewhat neglected connections and overlaps between architecture, design history and literary analysis. In general, links between architecture, design history and literary analysis are seldom analysed. Yet, studying these interconnections and the interstices between these various fields, can provide us with the multilayered scope and insights that are necessary to further tackle the ambiguities and multifacetedness of modernity. Furthermore, in relation to Belgian culture, little work has been done in connecting literary analysis with the contemporary understanding of domestic space or with insights from art history, material culture studies, or, research on phototype (or heliotype) or photography. With regard to literature, this does not only concern writers like Rodenbach, Verhaeren andMaeterlinck, but also neglected authors who were influential in their lifetime, such as Octave Pirmez, whose anthropomorphised architecture and cities would influence Rodenbach. In his work, buildings or

中文翻译：

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十九世纪比利时的室内和室内空间

沃尔特·本杰明（Walter Benjamin）著名地宣称：“十九世纪比其他任何一个世纪都更热衷于居住地”（1999，220）。在过去的几十年中，室内装饰吸引了来自各个学科的学者，他们都试图了解其在现代性历史中的地位。从艺术史，文化研究，设计史到建筑和文学，学者们一直在质疑家庭室内和室内空间在现代艺术和现代身份形成中的作用。因此，最近的大量批评使我们从性别，美学，现代设计和社会实践以及空间图像的作用和影响等方面加深了我们对19世纪家庭室内装饰重要性的理解。该奖学金借鉴了从鲍德莱尔（Baudelaire）和杜兰蒂（Duranty）到本杰明（Benjamin）和阿伦特（Arendt）在内的室内著名的美学和哲学论着，从现代世界的创造方面着重强调了家庭内部的重要性，现代世界与家庭内部一样都围绕着在内部和外部，私人和公共，自我和其他（男性和女性）之间建立了新的变化的紧张关系。此外，形式语言和现代艺术主题都归属于家庭内部。在室内装饰中，它们反映了现代室内装饰与现代装饰之间的歧义和张力。Ensor的绘画Une Coloriste（1880年，布鲁塞尔：皇家美术馆）在艺术家和姐姐的合并中，影棚兼住宅中的观众和图片本身就是一个示例，说明如何将内部表示理解为一种驾驭现代性的方式。通过解决建筑，设计历史和文学分析之间的许多引人入胜但有些被忽视的联系和重叠，对该卷的多学科交叉贡献寻求加深现有批评的丰富性。通常，很少分析建筑，设计历史和文学分析之间的联系。然而，研究这些相互联系以及各个领域之间的空隙，可以为我们提供多层的范围和见解，这些对于进一步解决现代性的歧义和多面性是必要的。此外，关于比利时文化，在将文学分析与当代对家庭空间的理解或从艺术史，物质文化研究或照像（或日照）研究或摄影的见解联系起来方面，几乎没有做过任何工作。在文学方面，这不仅涉及罗登巴赫（Rodenbach），韦尔哈伦（Verhaeren）和马特林克（Maeterlinck）等作家，而且还涉及一生中有影响力的被忽视的作家，例如Octave Pirmez，其拟人化的建筑和城市都会影响罗登巴赫。在他的工作中，建筑物或 但也忽略了一生中有影响力的作家，例如Octave Pirmez，其拟人化的建筑和城市会影响Rodenbach。在他的工作中，建筑物或 但也忽略了一生中有影响力的作家，例如Octave Pirmez，其拟人化的建筑和城市会影响Rodenbach。在他的工作中，建筑物或