U središtu je pozornosti članka prikazati odnos Matoševa modernog književnog opusa te njegov moderni medijski flanerizam nasuprot postmodernom intermedijskom književnom flaneriranju Branka Čegeca, oslanjajući se pritom na teorijska razmatranja Dubravke Oraić Tolić, Krešimira Nemeca, Igora Gajina te Gorana Galića. U članku se sažima povijest pojma flanera i flanerizma, s naglaskom na njegovu primjenu na Čegecov i Matošev opus. Budući da subjekt u Čegecovim poetskim tekstovima meandrira označiteljskim putanjama, vidjeti nam je kakva je njegova pozicija u odnosu spram subjekta u Matoševim tekstovima. Analiza potvrđuje kako se Čegec postmodernističkom aparaturom, uz dakako literarne odmake, oslanja na intermedijalne izvore i tragove kao i Matoš te mu na taj način šalje simbolični postmoderni odgovor. This article explores the relationship between Matoš’s modern literary oeuvre and his modern media flâneurism with Branko Čegec’s postmodern intermedial literary flâneurism, by relying on the theoretical considerations of Dubravka Oraić Tolić, Krešimir Nemec, Igor Gajin and Goran Galić. The article provides an overview of the history of terms flaneur and flâneurism, with an emphasis on how they apply to Čegec’s and Matoš’s work. Since the subject in the poetry written by Čegec meanders along the signifier paths, it is necessary to determine its position in relation to the subject in Matoš’s texts. The analysis confirms that Čegec, like Matoš, is using the postmodernist apparatus, albeit with certain literary departures, to rely on intermedial sources and traces, and is thus giving a symbolic postmodern response to Matoš.