This paper tried to analyze affective experience of modernity, in Baudelaire and Dai Wangshu’s poems. Took Dai Wangshu’s poems as reference, and compared Baudelaire’s poems with his, this paper distinguished classical affective experience from modern one, and attempted to sort out the transformation from classics to modernity, which involves aesthetic orientation, time consciousness, expression and the circumstance of affective production. This paper is divided into six parts: The Introduction briefly explained the significance of this study, the research background and research methods. The first chapter contrasted women, the images of women and the other images in Baudelaire and Dai Wangshu’s poems. It highlighted aesthetic orientation, which changed from appreciating the beauty to the ugly. It is divided into two sections. Section One reflected the unique and strange aesthetic characteristic in modern times, through comparing the choice of female images. Section Two further proved that the modernity regard ugliness and strange as beauty, by describing the other images in the poems. The second chapter expressed that the transformation of time consciousness, from classical to modern, mainly through contrasting different speed and sensory stimuli. It is divided into two sections. Section One explained separately the speed of love production and forgetfulness in Baudelaire and Dai Wangshu’s poems, and that lead to the unique experience of modernity which means “moment”. Based on the experience of “momentary shock”, Section Two discussed the richness of classical and the lack of modernity on the sensory experiences. The third chapter mainly discussed the reserved classical emotional expression, to highlight the unreserved expression in modern times, through analyzing the different expressions between Baudelaire and Dai Wangshu’s poems. The fourth chapter compared the circumstances of affective production, including external circumstances and the poets themselves. This chapter is divided into two sections. Section One analyzed the difference of external circumstances, pointed out that the crowd and city both played important roles in affective production. Section Two started from themselves, dug into the root of Dai Wangshu’s melancholy and Baudelaire’s loneliness. The conclusion summarized the points mentioned above and indicates that there has been a dramatic shift in aesthetic orientation, time consciousness, expression and the circumstance of affective production of affective experience of modernity, and it is irreversible in the unforgettable modern times.

本文嘗試以波德萊爾與戴望舒的情詩為文本，淺析現代性情感體驗，其中以 戴望舒獨具古典情懷的詩作為參照，與波德萊爾詩中的現代體驗作對比，以襯托 出由古典到現代的截然不同的情感體驗，試圖整理出現代相較于古典從審美指 向、時間意識、表現形式以及情感衍生環境上的嬗變。 本文分為六個部份： 緒論對本文的研究意義、研究背景以及研究方法作了簡單的闡述。 第一章將波德萊爾與戴望舒詩中的女性、女性意象以及其他意象做對比，突 出由審美到審醜的審美指向。分作兩節：第一節通過對女性形象選擇的對比，體 現現代獨特而怪異的審美特徵；第二節通過闡述詩中的其他意象，進一步證明現 代以醜為美，以怪異為美。 第二章主要通過速度的快慢與感官刺激的對比來表現古典到現代的時間意 識的轉變。分作兩節：第一節分別闡述了在波德萊爾與戴望舒詩中，愛情產生速 度及遺忘速度的快慢，引出“瞬間”這一現代性獨有的體驗；第二節以“瞬間震 驚”體驗為引，詳細描述了在感官體驗上古典的豐富及現代的貧乏。 第三章主要從波德萊爾與戴望舒詩歌表現形式的不同，來闡述古典情感表達 的內斂，突出現代情感表達的外放。 第四章從外在環境及詩人自身來對比古典與現代情感的衍生環境。分作兩 節：第一節分析了外在環境的不同，指出人群和都市對情感衍生的重大作用；第 二節從詩人的內心出發，挖掘戴望舒古典的憂鬱與波德萊爾現代的孤獨的根源所 在。 結論總結全文，現代性情感體驗的審美指向、時間意識、表現形式、衍生環 境相較于古典發生了翻天覆地的變化，身處現代這個難以忘懷的時代，也是不可 逆轉的。