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1. Modern Life, Modern Woman
十九世紀末的巴黎所彰顯的城市現代性在於其時
間與空間上的快速變異；交通的便利使大量人口
迅速由鄉村移往城市，硬體建築的革新帶來空間
上的變化；而在這個百貨公司快速興起、奢侈品
開始普及化的年代，巴黎女人以各種新興的服飾
與化妝技巧美化自己的行為也被視為是劃時代的、
現代性的一個面向，更成為當時繪畫的主題(
現代性的一個面向，更成為當時繪畫的主題(如
James Tissot即有一系列以巴黎女人為主題的畫
Tissot即有一系列以巴黎女人為主題的畫
作)
2. Parisienne = modern femininity
The “Parisienne” became the generic term
for describing the essence of a particularly
modern, peculiarly French form of
femininity, which could, ostensibly,
encompass women of all classes by a
shared je ne sais quoi, a quality which
none could put their finger on but all
professed to recognize when they
encountered it. (Tamar Garb, Bodies of
Modernity)
Modernity)
3. (Continued)
The “Parisienne” connoted an urban creature,
whose tantalizing presence and mysterious
allure was linked to the enchantment and
potential dangers of the modern metropolis. Tied
to the ascendancy of Paris as a cultural and
commercial center and of the urban bourgeoisie
as the newly empowered ruling class, the
“Parisienne” had become one of France’s
principal exports by the 1880s. Frenchmen
claimed that women were a hundred times more
feminine in Paris than in any other city and a
whole industry developed dedicated to
spreading their charms abroad.
4. Juxtaposition of modern femininity
and the modern symbol of Paris
Jean Beraud’s In Front of the Eiffel Tower (1892)
sets up visual parallels between the corseted
and erect figure of the “Parisienne” and the
newly proclaimed emblem of France’s
technological and aesthetic prowess: “Paris was
proud of both its tower and its woman and the
conjunction of the two conferred grace and
elegance on the steel structure while confirming
the fashionability and metropolitan chic of its
female subjects.”
5.
6.
7.
8. Fashionable women in crowded
public spaces
What does a man look like beside his wife?
He, black, plain, dull, smelling of cigars.
She, pink, elegant, sparkling, her rice
powder wafting all around her the perfume
of ambergris? Does he not look like his
own cook in his Sunday best?
--Nestor Roqueplan, Parisine
--Nestor
9. (Continued)
The ordinary dress of a man is so much
simplified that . . . when he mixes with
women, he looks like a humble grub
crawling among the flowers.
If man had the right only to clothe himself,
then woman has the right to ornament, to
embellish herself, and to introduce a little
brilliance into the dullness of modern life.
(Octave Uzanne, The Modern Parisienne)
10. She had become necessary for the
smooth functioning of the economy
The department stores and shopping
arcades offered an unprecedented array of
goods aimed at seducing women and
creating in them the desire to consume
luxury goods indispensable to their identity
as women. France’s fashion industry and
all its ancillary enterprises depend on the
credibility of the “Parisienne” as a living
monument to modern femininity.
11.
12. Tissot’s Shop Girl
The door between the inner feminine sanctum
and the predatory world of the exterior is open,
revealing the interpenetrability of these spheres.
(Her purchase over, she herself re-enters the
re-
world of exchange in which she is perused,
assessed and, if she’s lucky, desired.)
The transparency of the glass shop front
provides another barrier which, while forbidding
entry, facilitates the interchange of looks, indeed
places the interior on display for the passer-by
passer-
and potential customer.
14. Window shopping (léche vitrine)
(l vitrine)
=licking the window
The association of sex and shopping
Women were thought to have a voracious
appetite for shopping.
The penetration of the interior by the “licking” of
the external viewer’s gaze is symbolized by the
curious little griffin placed at the corner of the
table. This masculine presence, comically
echoing that of the coachman, is shown with a
long curled tongue which is lewd in its
association.
15. Superficial sovereign?
Attended to by her galley-slave of a
galley-
husband, she is the superficial sovereign
who presides over the pleasure palaces of
the city. While man’s material wealth and
power is attested to by the glamour and
sophistication of his female companion, he
is at the same time constituted as a
servant worshipping at the shrine of the
idol he has created.
16. 公領域與私領域真的互相穿透了嗎?
公領域與私領域真的互相穿透了嗎?
Her function was to be seen and her ideal
milieu was the public spaces of the city:
the boulevards, parks, balls, shops,
theatres and salons for which Paris had
become famous. There are no
representatives of the mother or the
devoted wife. They are conceived of as
belonging to the private sphere.
22. 十九世紀以來大胸部便是satire
十九世紀以來大胸部便是satire or bawdy humor的嘲笑主題、
humor的嘲笑主題、
畫作中的香水瓶與香粉撲是對於女性smell bad的嘲弄
畫作中的香水瓶與香粉撲是對於女性smell bad的嘲弄
The nipple of the right-hand breast is half
right-
revealed as its coloration is suggested through
the transparent bodice by a flurry of warm pink
dots.
doubling of forms:
The hairdo consisting of two mounds (cleavage)
A mysterious light halo (aureole)
The ample double chin
The mirror on the table as a duplicate of her
person
23. Male gazing subject vs.
Female object’s to-be-looked-at-ness?
to-be-looked-at-
畫作本身是男性慾望的展演，但偽裝成對
modern life的呈現：畫中人是秀拉的
life的呈現：畫中人是秀拉的
mistress (Madeleine Knobloch)（為此畫當
Knobloch)（為此畫當
模特兒時懷有秀拉的孩子），此畫與當時
流行的入畫題材因此並無二致：都在呈現
女性為男性打扮、甚至為男性金錢所收買
的狀況；秀拉友人更表示畫中牆上的花本
來畫的是秀拉自己，後來才改成花，X
來畫的是秀拉自己，後來才改成花，X-ray
鑑定專家的說法則不一，有的認為確實可
以看到秀拉影像的殘跡。
28. The Beauty of the Devil
The mask of femininity could
easily be peeled back to reveal
the hideous face of death. (See
Felicien Rops’s Street Corner, c.
1880s)
41. General Theory of the Neuroses
For an external frustration to become
pathogenic an internal frustration must be
added to it. The external frustration
removes one possibility of satisfaction and
the internal frustration seeks to exclude
another possibility, about which the conflict
then breaks out. (The tendency to conflict
arises from the development of the ego,
which rejects these instinctual impulses.)
44. (續)
從拉岡的觀點來看，歇斯底里牽涉的則是一個
Am I a man or a woman？的問題：在父權中心
woman？的問題：在父權中心
的社會上要得到肯定，其實是需要諸如積極進
取、主動出擊等陽剛特質的，但女性若是想得
到這類的肯定，往往會有一種僭越的感覺，會
困惑於自己是否和別的女性都不同、是否缺乏
女性特質？也因此會設想有Ideal Woman的存在、
女性特質？也因此會設想有Ideal Woman的存在、
想去符合The Woman所應具備的條件，雖然
想去符合The Woman所應具備的條件，雖然
The Woman根本不存在、不可能有一套定義何
Woman根本不存在、不可能有一套定義何
謂女性的方式。
48. The double-edged nature of
double-
modern femininity
The city constituted her stage. It was here that
she performed her part, always aware of being
watched, always watching herself. Her
appearance was her most precious possession
and it was her appearance that she devoted all
her energy and attentions. Women were
simultaneously deified and enslaved by a
system of exchange which depend on their
consumption of commodities while they
themselves were commodified.
