{'fraction_non_alphanumeric': 0.023319615912208505, 'fraction_numerical': 0.0, 'mean_word_length': 4.7936507936507935, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
The Sensualization of Flânerie

Abstract Flânerie changed over the nineteenth century. The distant, detached flâneur came alive to sensuality. The sensual flâneur explored street flowers and foods in a Paris altered by urbanization. In Le Ventre de Paris Zola fixes on les Halles to study the sensualization of the city. The painter Claude Lantier is a flâneur who cannot resist the offerings to the senses, especially the ‘lower’ senses of smell, touch, and taste. Entrapped in his sensual flâneries, Claude is unable to complete his painting of les Halles. Zola succeeds. The writer-flâneur uses sensuality rather than being used by it, keeping his distance even as he plunges his readers into the city of sensualized flânerie.