浪蕩子美學與越界－新感覺派作品中的性別、語言與漫遊

Dandyism and Border Crossing: Gender, Language, and Travel in Neo-Sensationism

彭小妍(Hsiao-Yen Peng)

《中國文哲研究集刊》 28期 (2006/03) Pp. 121-148

https://doi.org/10.6351/BICLP.200603.0121

摘要

一九二、三○年代崛起於日本及上海的新感覺派，深受法國現代主義作家保羅•穆杭的影響。這些作家和他們故事中的敘事者一樣，一派浪蕩子行徑，無論在生活方式和寫作上都獨具風格。浪蕩子美學的基本概念是越界。浪蕩子除了跨越國家和階級的界限，也跨越性別界限。浪蕩子和摩登女郎是現代性一體的兩面；摩登女郎實際上足稱為浪蕩子的她我。但是浪蕩子一方面著迷於摩登女郎的光鮮動人外貌，一方面又認為她智能低下、水性楊花，顯示浪蕩子美學對女體的迷戀及女性嫌惡症。
本文由川端康成的「掌の小說」談起，此文類源自於保羅•穆杭，一九二○年代因川端而聲名大噪。透過上海新感覺派的挪用，此文類展現出獨特的浪蕩子美學。它開創了一個中間地帶，讓新感覺派作家得以在菁英與通俗間越界游移，並將「摩登女郎」轉化為現代性塑造下的物化象徵。此外，這些故事的混語書寫反映出上海半殖民都會的獨特生活風格。另一個共通的特色是新感覺派作家和法國現代派作家的永恆漫遊者的姿態。他們在歐亞的大都會中四處漂泊，無以為家，以邂逅摩登女郎為務。這些摩登女郎不僅是他們自我的另一面，也象徵現代性的飄零離散和物慾橫流。

關鍵字

浪蕩子美學 ； 摩登女郎 ； 女性嫌惡症 ； 新感覺派 ； 掌の小說

並列摘要

Both the Japanese and Shanghai Neo-Sensationists who began their literary careers during the 1920s and 1930s were deeply indebted to the French modernist Paul Morand. These writers, like the male narrators in their stories, were more or less self-styled dandies, who made it a rule not only to live but to write in style. Dandyism is basically about border crossing. Besides national and class boundaries, the dandy goes beyond gender boundaries as well. The dandy and the modern girl are two sides of the same coin; the modern girl is the reflection of the dandy's self. A defender of good taste and préciosité, he takes upon himself the duty of teaching the modern girl how to behave and dress. But while he is infatuated with modern girls' looks and refinement, he is highly skeptical of their intelligence and fidelity, disclosing a deeply rooted misogyny on his part.
This paper starts with the discussion of tenohira no shōsetsu (Palm-of-the-hand story), a genre Kawabata Yasunari learned from Morand and made famous during the 1920s. Imitated by the Shanghai modernists, it was turned into a celebration of dandyism. This kind of mini-story allowed them to cross the borders between the elite and the popular, display the dandyish fascination with the female figure and misogyny, and transform the exotic Modern Girl into a materialized symbol of modernist artifice. In addition, the macaronic style and the unconventional mode of expression in these stories reflect a way of life and an attitude towards the semicolonial metropolitan world in Shanghai. Another characteristic the Neo-Sensationists share with the French modernists is a passion for travel. Driven by the sense of being homeless, these perpetual travelers, roaming the great cities of Europe or Asia, were infatuated by chance encounters with seductive women, who either draw out reflections on the self or manifest the epitome of modernity.

並列關鍵字

dandyism ； the Modern Girl ； misogyny ； Neo-Sensationism ； Palm-of-the-hand story

參考文獻

彭小妍(2001)。海上說情慾：從張資平到劉吶鷗。臺北:中央研究院中國文哲研究所籌備處。

Peng Hsiao-yen(2004).The Dandy and the Woman: Liu Na'ou and Neo-Sensationism.Tamkang Review.35(2),11-27.

Lawrence Venuti(1995).The Translator's Invisibility: A History of Translation.New York:Routledge.

Lawrence Venuti(1998).The Scandals of Translation: Towards an Ethics of Difference.London:Routledge.

Lawrence Venuti,Lawrence Venuti(ed.)(2000).The Translation Studies Reader.New York:Routledge.