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1 (dandyism) (Paul Morand, ) (Maurice Dekobra, ) (misogyny) (the macaronic) [franglais] (gaze) (dandy) (the other self) (border crossing) Peng Hsiao-yen, The Dandy and the Woman: Liu Na ou and Neo-Sensationism, Tamkang Review 35.2 (Winter 2004):

self) (border crossing) 1 1 2001 105-144 Peng Hsiao-yen, The Dandy and the

2 (borrowing) (neologism) (Huxley) (Evolution and Ethics) (domesticate) (foreignize) (domesticating method) (foreignizing method) (Lawrence Venuti) (The Translator s Invisibility: a History of Translation, 1995) (xenophobia) (The Scandals of Translation: Towards an Ethics of Difference) 2 (agenda) 2 Cf. Lawrence Venuti, The Translator s Invisibility: A History of Translation (New York and London: Routledge, 1995); The Scandals of Translation: Towards an Ethics of Difference (London: Routledge, 1998); Translation, Community, Utopia, in Lawrence Venuti, ed., The Translation Studies Reader (New York and London: Routledge, 2000); and Translating Derrida on Translation: Relevance and Disciplinary Resistance, The Yale Journal of Criticism 16.2 (2003):

Lawrence Venuti, The Translator s Invisibility: A History of Translation (New York and London: Routledge, 1995); The Scandals of Translation: Towards an Ethics of Difference (London:

3 3 (Jacques Derrida) (Gayatri Spivak) 4 (Walter Benjamin) ( The Task of the Translator ) (meaning) 5 (derivative) (signi cation) 3 Venuti, The Translator s Invisibility, pp ; The Scandals of Translation, p See Jacques Derrida, Differance, in Alan Bass, trans., Margins of Philosophy (Chicago: University of Chicago Press, 1982), pp. 1-28; Des Tours de Babel, in Joseph F. Graham, ed., Difference in Translation (Ithaca: Cornell University Press, 1985), pp ; Gayatri Chakravorty Spivak, The Politics of Translation, in Outside in the Teaching Machine (London and New York: Routledge, 1993), pp Walter Benjamin, The Task of the Translator (1923), in Hannah Arendt, ed., Harry Zohn, trans., Illuminations (New York: Random House, 1988), pp

1-28; Des Tours de Babel, in Joseph F. Graham, ed., Difference in Translation (Ithaca: Cornell University Press, 1985), pp.

4 ( ) -124-

5 conte conte 7 8 tanagokoro Donald Keene tanagokoro no Donald Keene, Dawn to the West: Japanese Literature of the Modern Era (New York: Holt, Rinehart, and Winston, 1984), p

7 (epiphany)

8 nonsense conte nonsense conte Feverish 17 Feverish Feverish artful artful Spiritual Spiritual A loving caress 18 Kiss 19 Kiss

9 Richard Pine instanter epiphany 20 (metaphysical conceit) 20 Richard Pine, The Dandy and the Herald: Manners, Mind and Morals from Brummell to Durrell (New York: St. Martin s Press, 1988), pp

Manners, Mind and Morals from Brummell to Durrell

10 21 patent 22 Spiritual

11 (préciosité) 23 (La sirène des tropiques) (La madone des sleepings) (Philippe Collas) (Scott-Fitzgerald) Philippe Collas, Maurice Dekobra: gentleman entre deux mondes (Paris: Séguier, 2002)

23 17 1934 4 9-29 24 Philippe Collas, Maurice Dekobra:

12 25 (violin)

13 Le tumulte noir Paul Colin Josephine Baker ( ) Charleston Baker 30 (Jean Henri Fabre) Le tumulte noir Pokerface -133-

14 Hollywoodism Screen-face

15 (Cézanne) 33 V It Hormone Hormone Nonsensical Grotesque Erotique Hormone It 34 Érotique

16 HORMONE, EROTICISM 35 Garbo, Deitrieh Dietrich Saxphone Saxophone Rendezvous Eroticism Revue Nonsense A.B.C. Hormone, Hormone, Hormone 36 (Greta Garbo, ) (Marlene Dietrich, ) (The Blue Angel, 1930) (femme fatale) (Clara Bow) (The It Girl) It Hormone Hormone Hormone

Hormone, Hormone, Hormone 36 (Greta Garbo, 1905-1990) (Marlene Dietrich,

17 (tabibito) ( )

18 (apsychological) ( ) Donald Keene Keene, Dawn to the West, p Ibid., p

19 42 (Ouvert la nuit, 1922) (Marcel Proust) ( ) (l université l Aurore) (Benjamin Crémieux) (Lampes à arc, 1919) (Feuilles de température, 1920) (Tendres stocks, 1921) Tendres stocks Gallimard Marcel Proust Tendres stocks Ouvert la nuit Proust Tendres stocks Marcel Proust James Joyce

1921) 42 1968 357-360 43 Tendres stocks Gallimard Marcel Proust Tendres stocks Ouvert la

20 (Fermé la nuit, 1923) 47 dandysme 48 (incommensurability) dandysme (L Europe galante, 1925) (contes) ( Vague de paresse ) ( Les amis nouveaux ) ( La nuit des sixjours ) (Léa) (Eugène) (Léa était toujours belle, et rebelle) 49 (Petitmathieu) 47 Benjamin Crémieux, Paul Morand, in XXe siècle : première série (Paris: Librairie Gallimard, 1924), neuvième édition, pp Paul Morand, La nuit des six-jours, in Nouvelles complètes (Paris: Éditions Gallimard, 1992), p. 145;

Crémieux, Paul Morand, in XXe siècle : première série (Paris: Librairie Gallimard, 1924), neuvième édition, pp. 211-221.

21 Coucher de soleil. Grenadine. L heure était facile comme l asphalte. Un apaisement tombait, malgré la brûlure des amers. J attendais Léa à la brasserie de la Port lot. Elle descendit de Montmartre, en coupé de louage, vêtue d un manteau de loutre, vers les apéritifs à l eau Paul Morand, La nuit des six-jours, p. 144; vers les apéritifs à l eau Marcel Proust, Préface, in Tendres stocks, colleted in Paul Morand, Nouvelles complètes, pp

22 (kankaku) 54 (Honoré de Balzac, ) 55 (un monolithe compact, indifférent) Michel Bulteau, Époques d une vie, in Paul Morand, Au seul souci de voyager (Paris: Quinzaine Littéraire, 2001), p Shanghai, in ibid., p

23 57 (Jean Giraudoux, ) (Valéry Larbaud, ) Yokohama, in ibid., p Benjamin Crémieux, Paul Morand, p. 212: Déjà, le collectionneur d épaves se fait jour chez Morand. Son cosmopolitisme ne va pas, comme celui d un Giraudoux ou d un Larbaud, jusqu à l âme des peuples. Ce qu il recherche, c est dans les capitales, les morceaux épars de l Europe : ici c est une Française perdue dans Londres, ailleurs, ce sera aussi bien une Catalane en Suisse et à Paris, une Russe à Constantinople, une Française à Rome, un Arménien à Londre, qu une Parisienne à Paris ou une Finlandaise en Finlande

24 modernité

25 -145-

26 -146-

27 -147-

28 Dandyism and Border Crossing: Gender, Language, and Travel in Neo-Sensationism PENG Hsiao-yen 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 selfstyled 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 (Palm-of-thehand 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. Keywords: dandyism the Modern Girl misogyny Neo-Sensationism Palm-of-the-hand story -148-

140 戲劇學刊佳構劇一杯水翻譯說明佳構劇法語為pièce bien faite 英語為well-made play 是19世紀流行於歐洲劇場的一種編劇方法也可以廣義地視為一種戲劇類型其特點顧名思義就是強調情節的巧思佳構通過複雜交錯的線索與佈局牽引出角色的利害關係環環相扣

140 戲劇學刊佳構劇一杯水翻譯說明佳構劇法語為pièce bien faite 英語為well-made play 是19世紀流行於歐洲劇場的一種編劇方法也可以廣義地視為一種戲劇類型其特點顧名思義就是強調情節的巧思佳構通過複雜交錯的線索與佈局牽引出角色的利害關係環環相扣法文翻譯劇本一杯水* Le verre d eau 又名果與因司克里布著 Eugène Scribe 羅仕龍**譯 trans. by Shih-lung Lo 戲劇學刊第二十二期頁 139-213 民國一四年臺北國立臺北藝術大學戲劇學院 TAIPEI THEATRE JOURNAL 22 (2015): 139-213 School of Theatre, Taipei National