This essay reconsiders the enduring impact of Charles Baudelaire’s modernity in light of his writings on photography. By reading his essay “Le Public moderne et la photographie” in relation to other texts in which he describes how modern life transforms the art of seeing, it is argued that photography is not to be seen as a medium in itself for Baudelaire, but rather as a general threat to a poetic mode of seeing. Like his own poetic writings, photography displaces existing aesthetic categories and reconfigures the relationship between art and the world. Baudelaire explicitly refers to photography only once in his entire poetic corpus, in the prose poem “Mademoiselle Bistouri.” Through a close reading of that text, this essay argues that photography is not in fact simply opposed to art for Baudelaire, but rather it exposes critical aspects of the production, reproduction, and circulation of his poetic images.

中文翻译：

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包德莱尔的女性反署名：“ Mademoiselle Bistouri”的摄影诗学

本文根据查尔斯·鲍德莱尔（Charles Baudelaire）的摄影作品，重新考虑了他的现代性的持久影响。通过阅读他的论文“ Le public moderne et la photographie”与其他文本的关系，其中他描述了现代生活如何改变了观看艺术，有人认为摄影不应该被视为宝德莱尔本身的媒介，而是作为对诗意的观看方式的普遍威胁。像他自己的诗歌作品一样，摄影取代了现有的美学范畴，并重新构筑了艺术与世界之间的关系。鲍德莱尔在散文诗《 Mademoiselle Bistouri》中明确地提及摄影在他整个诗歌语料库中仅一次。通过仔细阅读该文字，本文认为摄影实际上并非与鲍德莱尔的艺术完全相反，