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By Shirin Yim Bridges,Albert Nguyen

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For this reason, to travel becomes in essence the verb that best describes the urban epistemology of the passenger. Thirdly, passengers have to pay for their transport. This in effect means that passengers are consumers. And fourthly, travelling affects the passenger’s perception as he or she is transported at speed across London. Unlike the flâneur, the passenger travels across the metropolis at a faster pace, a pace that is produced not by the passenger him or herself, but by the vehicle in which he or she is travelling.

118 Hence, the passsenger’s ironic use of the word pompier seems to suggest that the figure of the flâneuse/streetwalker is outmoded, her walking rhythm directly disrupting the modernity of this ‘lost masterpiece’: What business had she, I ask, to come and thrust her white-handled umbrella into the delicate network of my nerves and untune their harmony? Does she realise what she has done? She has trampled a rare little mindbeing unto death, destroyed a precious literary gem. Aye, one that, for aught I know, might have worked a revolution in modern thought;119 The story ends in a rather paradoxical way.

90 This was generally what happened with all the railway lines until 1863, even though they continued their expansion throughout this period. 91 During the 1840s and 1850s omnibus lines and omnibus traffic continued to grow. 92 But the boost was followed by a profound crisis, as omnibus companies were left with an excess of vehicles, which forced them to reduce their fares drastically. 95 In addition, London’s city centre was dangerously overcrowded. The population of London grew considerably during the nineteenth century.

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