城市是件花衣裳

On Wearing the City

身體的「穿衣打扮」和城市的「穿街走巷」有何關連？建築的「穿堂過屋」又與文學敘事的「穿針引線」有何糾葛？本篇論文企圖思考如何由穿衣的「體感」經驗來「體現」城市，嘗試建構出一套有關「衣文本」的城市居住與穿著理論。將分別以張愛玲的〈紅玫瑰與白玫瑰〉、朱天文的〈世紀末的華麗〉與朱天心的〈古都〉為例，展示三位女作家城市──身體的體感經驗，如何與空間肌理、瑣碎敘事相互交織。此種閱讀方式正是企圖在城市文學傳統的大論述框架下（城／鄉對立、城市與國族認同、城市與全球現代性等），另闢蹊徑，讓城市不再僅以背景（街道、高樓等地標或電車、火車等運輸工具）、主題、象徵符號的方式被「再現」(represented)，而是以身體記憶與空間感知的方式被「體現」(embodied)，讓城市不再只是「隱喻」（強調相似、認同、深度與意義的達成），更是「轉喻」（展開毗鄰、連結、貼近的表面意符流動與身體想像），讓城市的「認知繪圖」也是「感官地理」。

What would be the possible connection between dressing through the body and walking through the city? How could the space of architecture/architexture be interwoven with literary narratives? This paper attempts to think through the ＂clothed＂ body-city by exploring the ＂haptic＂ experience of wearing, dwelling and walking in urban modernity. It will read through three major texts-Eileen Chang's ＂The Red Rose and the White Rose,＂ Tien-wen Chu’s ＂Fin-de-Siècle Splendor,＂ and Tien-hsin Chu’s ＂The Ancient Capital＂-to map out the spatial text/texture/textile/textuality of both the embodied city and the urbanized corporeality. Instead of following the tradition of urban literature which tends to read the city as chiefly the ＂abstract＂ background of the rural/urban confrontation, national identity formation or global homogenization, it endeavors to trace bodily memories and e-motions through the details of habit/habitus/habitation fashioning and fashioned in urban life styles. It will argue that the multiplicity of the body-city fabricated by these three women writers is more a metonymical ＂surface＂ of proximity, contiguity and contact than a metaphorical ＂depth＂ of similarity, identification and meaning. Its openness and fluidity makes the haptic experience of urban writing and reading a perfect turning of cognitive mapping into sensuous geography, of the represented cityscape into the embodied fashionscape.