Abstract
This article analyzes the gradual encapsulation of motorists into a closed cocoon and the parallel domestication of a dominant masculine, aggressive subculture of the early automobile. It uncovers the existence of a specific French–Belgian group of (male) avant-garde artists who were at the same time automobile pioneers. During the Interbellum, this subculture was replaced by a petit-bourgeois culture, where aggression had morphed into a distanced attitude toward the other, both domestic and exotic. The sources (novels, poems) appear to be very useful for uncovering this aspect of early automobilism, more so than more conventional sources such as trade journals and club archives.
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