拼出新女性：《莎樂美》對二十世紀初日本與中國新女性群像的影響

Abstract

十九世紀末、二十世紀初新女性現象，伴隨著工業文明和都市化發展而來到，是現代化文明進程中女性解放的一個里程碑，有工作、不婚的新女性，往往又與主張女權、抗拒傳統的女性主義重疊，是當時各國社會發展的一個特點。即使到了日本，新女性論述依然主要是由女性主義者掌握，因此能站在女性的需要角度發生，但，中國的新女性論述，卻長期是由男性所掌握，再結合了「賢妻良母」的修辭後，中國的新女性有了不同的論述的社會功能。 王爾德的《莎樂美》作為唯美主義文學作品，著意的是驚世駭俗和對於維多利亞社會道德禁忌的挑戰和衝撞，該作出現在新女性成形的同時，其特有的故事情節，其實也潛藏著王爾德個人對新女性的詮釋和註記，也因此在此劇透過翻譯流傳後，讓各種語言的新女性透過這個角色找到適合的表演內涵，新女性因此化身莎樂美，莎樂美則賦權新女性。這篇論文探討從莎樂美中所誕生的新女性如何賦予當時既有的新女性新的面向：情慾，從而豐富了新女性論述的內涵。 本文藉由傅柯的性言說比較性文化在各國社會的差異，從中檢視王爾德《莎樂美》在翻譯到各文化後所造成的原因和影響，以求看到翻譯在近代東方國家現代化進程中，對於女性論述的影響。

The New Woman phenomenon that emerges during the late nineteenth and early twentieth centuries, a result of industrialization and urbanization, is seen as a milestone of woman emancipation in the process of modern civilization. These professional and unmarried women, more often than not, coinciding with the emergence of feminism that champions sexual equality and decries traditional gender roles, epitomize the societal development of the time in many countries. Even in Japan new woman were identified with and advocated mainly by feminists who understood the former’s needs as the subjugated sex, however, in China, the construction of new woman relied heavily on their male counterparts who, with the Qing dynasty’s defeat by Japan and the West in mind, late Qing and early Republic Chinese intellectuals narrate a new China with the rhetoric of ‘A strong nation must have strong offspring’, which upholds the dictum of ‘good mother wise wife’ and places new woman on the forefront of reconstructing a new China. Oscar Wilde’s play Salomé is written as his response and challenge to Victorian taboos and moral standards with the intention of shocking the philistines, and probably with new woman as the protagonist in mind, it coincides with the emergence of new women and benefits from many of them contributing to the play’s success and notoriety in history, and was closely weaved into the lives and personae of these turn-of-the-century female artists, including Ida Rubinstein, Allan Maud, and Matsui Sumako, boasting a provocative and daunting narrative which allowed them to channel their talents into and left an indelible impression with which no other fin-de-siècle dramatic roles could compare. With such personal and unusual association between artists and character, Salomé therefore serves as an embodiment of new woman of that period, and in turn empowers them in real life as new women capable of defying traditional social values by enjoying economic and emotional independence. This research tries to incorporate Foucault’s sexual discourse in investigating an aspect left out by previous studies about both Japanese and Chinese new woman inspired by literary figures during the late nineteenth century, which Salomé bestowed on new women when the play was first introduced into both countries.