莎乐美之吻:唯美主义、消费主义与中国启蒙现代性

Salome’s Art of Dying Aestheticism, Consumerism and Chinese Modernity

《莎乐美》表现了唯美主义注重当前的时间观念，鄙视灵魂的非理性主义，推崇肉体的感性至上思想，是英国文学中反启蒙、反现代性的艺术作品。《莎乐美》在中国上海的传播与接受，象征地表达了商品文化中物化的逻辑。在郭沫若和田汉那里，唯美主义背后的商品关系和感觉的物化现象被现代与传统的关系所替代。《莎乐美》体现的颓废主义瞬间观念被“再生”的现代性时间观念所置换。在中国现代文学中，莎乐美成为一个反抗传统的启蒙主义艺术形象。

Aestheticism and decadence represented not only currents of artistic sensibility but also a special lifestyle of cosmopolitan metropolis. The experience of consumerist society could be aestheticized under the name of the ideas expressed by Pater, Wilde and other aesthetes, and thereby received validation as an ideal lifestyle. But in China, aestheticism expressed in Salome became identified, in the works of authors such as Guo Morou and Tian Han, with the campaigns against traditional Confucian culture and for “enlightenment” that followed in the wake of the May 4 cultural movement. For such writers, the commodified relations and sensory reification behind aestheticism were supplanted by the relationship between modernity and tradition. This rendition divested Salome of her decadent eroticism. Salome therefore assumed instead the primary role as a rebel and destroyer of tradition in modern Chinese literature.