‘We each have an idea of what bohem and who is bohem’ (p. 11): on the one hand, scripts (Gérard de Nerval), artists and ‘l’intelligentsia proletaroid’ (term that Pierre Bourdieu borrows from Max Weber, Les Rules de l’Art Genèse et Structure du champ Literary, Paris, Éd. Le Seuil, 1992) students who spend from 2 500 to 12 000 during the nineteenth century in France; on the other hand, overconsumption of tobacco, alcohol and drugs, young people, vagitation, etc.