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[i] Shu-mei Shih, the Lure of the Modern: Writing Modernism in Semicolonial China, 1917-1937 (Berkeley and Los Angels: University of California Press, 2001), hereafter The Lure of the Modern.

[ii] Preface, ibid, xi.

[iii] ¸¯¥H¹Å¡G<²{¥Nªº»¤´b¡G¥b´Þ¥Á¦a¤¤°êªº²{¥N¥D¸q¼g§@>¡A¡m¤¤°ê¾Ç³N¡n²Ä10´Á¡F¬ö¤j°¶¡G<¥v®Ñ¬ü»°¤W¡§¤W®ü¼ö¡¨>¡A¡m¤¤°ê®É³ø¡n¡]2001/ 10¡^¡F¡m·s¥Á±ß³ø¡n¡]2001/5/13¡^<¬ü°ê¥Xª©Â¤¤°ê¤å¾Ç«ä¼é¬ã¨s±MµÛ>¡C

[iv] Xudong Zhang, Chinese Modernism in the Era of Reforms: Cultural Fever, Avant-garde Fiction, and the New Chinese Cinema (Durham, N. C.: Duke University Press, 1997); Lu Tonglin, Misogyny, Cultural Nihilism, and Oppositional Politics: Contemporary Chinese Experimental Fiction (Stanford, Calif.: Stanford University Press, 1995); Jing Wang, High Culture Fever: Politics, Aesthetics and Ideology in Deng¡¦s China (Berkeley, Calif.: University of California Press, 1996); Xueping Zhong, Masculinity Besieged? Issues of Modernity and Male Subjectivity in Chinese Literature of the Late Twentieth Century (Durham, N. C.: Duke University Press, 2000); Ban Wang, The Sublime Figure of History: Aesthetics and Politics in Twentieth Century China (Stanford, Calif.: Stanford University Press, 1997); Sung-sheng Yvonne Chang, Modernism and the Nativist Resistance: Contemporary Chinese Fiction from Taiwan (Durham, N.C.: Duke University Press, 1993); Maghiel van Crevel, Language Shattered: Contemporary Chinese Poetry and Duoduo (Leiden: CNWS Publications , 1996) .

[v] Gregory B. Lee, Dai Wangshu: The Life and Poetry of a Chinese Modernist (Hong Kong: Chinese University Press, 1989); Lloyd Haft, Pien Chih-lin: A Study in Modern Chinese Poetry (Dordrecht, Holland: Foris Publications, 1983); Dominic Cheung,  Feng Chih: A Critical Biography (Boston: Twayne Publishers, 1979); Julia C. Lin, Essays on Contemporary Chinese Poetry (Athens, Ohio: Ohio University Press, 1985); Leo Ou-fan Lee, Voices from the Iron House: A Study of Lu Xun (Bloomington, IA: Indiana University Press, 1985); Michelle Yeh, Modern Chinese Poetry: Theory and Practice Since 1917 (New Haven, Conn.: Yale University Press, 1991).

[vi] Shu-mei Shih, The Lure of the Modern, p. 42.

[vii] Ibid., p. 1.

[viii] Ibid., p. 2.

[ix] Ibid., p. 42.

[x] Ibid., p. 4.

[xi] Matei Calinescu, Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism (Durham, N. C.: Duke University Press, 1987), pp. 1-42; Anthony Giddens, the Consequences of Modernity (Stanford, Calif.: Stanford University Press, 1990), pp. 1-54.

[xii] Shu-mei Shih, The Lure of the Modern, p. 3.

[xiii] Lydia He Liu, Translingual Practice: Literature, National Culture, and Translated Modernity¡XChina, 1900-1937 (Stanford: Stanford University Press, 1995), especially chapter 2 ¡§Translating National Character: Lu Xun and Arthur Smith¡¨, pp. 45-75.

[xiv] ±i¼e:<¤å¤Æ·s´Þ¥Áªº¥i¯à>¡A¨£¡m¤Ñ²P¡n1996¦~2´Á¡C

[xv] Leo Ou-fan Lee, Shanghai Modern: A New Urban Culture in China, 1930-1945 (Cambridge, Mass.: Harvard University Press, 1999); Gregory B. Lee, Troubadours, Trumpeters, Troubled Makers: Lyricism, Nationalism, and Hybridity in China and its Others (London: Hurst & Co., 1996), p. 74.

[xvi]Shu-mei Shih, The Lure of the Modern, p. 12.

[xvii] Ibid., pp. 8-9.

[xviii] Ibid., pp. 16-7.

[xix] Ibid., pp. 21-4.

[xx] Ibid., pp. 27-9.

[xxi] Ibid., p. 30.

[xxii] Ibid., p. 4.

[xxiii] Ibid., p. 31.

[xxiv] Preface, ibid, x-xi.

[xxv] Preface, ibid, xi.

[xxvi] Edward W. Said, ¡§Travel of Theory,¡¨ in his the World, the Text, and the Critic (Cambridge, Mass.: Harvard University Press, 1983).

[xxvii] Shu-mei Shih, The Lure of the Modern, pp. 11-2.

[xxviii] Ibid., p. 32.

[xxix] Fredric Jameson, ¡§Third-World Literature in the Era of Multinational Capital,¡¨ Social Text 15 (Fall 1986):  65-88.

[xxx] Shu-mei Shih, The Lure of the Modern, p. 94 and 74.

[xxxi] Ibid., p. 132.

[xxxii] Ibid., pp. 134 -35.

[xxxiii] Ibid., p. 31.

[xxxiv] Ibid., p. 32.

[xxxv] Ibid., p. 35.

[xxxvi] Ibid., p. 36.

[xxxvii] Ibid., p. 37.

[xxxviii] Leo Ou-fan Lee, ¡§In Search of Modernity: Some Reflections on a New Mode of Consciousness in Twentieth¡VCentury Chinese History and Literature,¡¨ in Paul A. Cohen and Merle Goldman eds., Ideas Across Cultures: Essays on Chinese Thought in Honor of Benjamin I. Schwartz (Cambridge, Mass.: Harvard University Press, 1990), pp.109-35; Leo Lee, ¡§Incomplete Modernity: Rethinking the May Fourth Intellectual Project,¡¨ in Milena Dolezelová-Velingerová and Oldrich Král eds., The Appropriation of Cultural Capital: China's May Fourth Project (Cambridge, Mass.: Harvard University Asia Center, 2001), pp. 31-65.

[xxxix] See also Shu-mei Shih, The Lure of the Modern, p. 50.

[xl] Suffice it to mention briefly the following works: Frederic Wakeman Jr. and Wen-hsin Yeh eds., Shanghai Sojourners (Berkeley, Calif.: Institute of East Asian Studies, University of California, 1992); Yingjin Zhang ed., Cinema and Urban Culture in Shanghai, 1922-1943 (Stanford, Calif.: Stanford University Press, 1999); Milena Dolezelova-Velingerova ed., The Chinese Novel at the Turn of the Century (Toronto: University of Toronto Press, 1981); Rey Chow, Mandarin Ducks and Butterflies: Toward a Rewriting of Modern Chinese Literary History, Ph. D. dissertation, Stanford University, 1985; Perry Link, Mandarin Ducks and Butterflies: Popular Fiction in Early Twentieth-century Chinese Cities (Berkeley, Calif.: University of California Press, 1981); Wang-chi Wong, Politics and Literature in Shanghai: the Chinese League of Left-Wing Writers, 1930-1936 (Manchester, Eng.: Manchester University Press, 1991); Heinrich O. Freuhauf, Urban Exoticism in Modern Chinese Literature, 1910-1933, Ph.D. dissertation, University of Chicago, 1990; Poshek Fu, Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai, 1937-1945 (Stanford, Calif.: Stanford University Press, 1993); Gail Hershatter, Dangerous Pleasures: Prostitution and Modernity in Twentieth-Century Shanghai (Berkeley, Calif.: University of California Press, 1997); Betty Peh-T`i Wei, Shanghai: Crucible of Modern China (Hong Kong: Oxford University Press, 1987); Nicholas Rowland Clifford, Spoilt Children of Empire: Westerners in Shanghai and the Chinese Revolution of the 1920s (Middlebury, VT: Middlebury College Press, 1991); Christopher Howe ed., Shanghai: Revolution and Development in An Asian Metropolis (Cambridge, Eng.: Cambridge University Press, 1981); Randolph Trumbull, Shanghai Modernist, Ph. D. dissertation, Stanford University, 1989; Bryna Goodman, Native Place, City, and Nation: Regional Networks and Identities in Shanghai,1853-1937 (Berkeley, Calif.: University of California Press, 1995), etc.

[xli] Matei Calinescu, Five Faces of Modernity; Moshe Menuhin, the Decadence of Judaism in Our Time (New York: Exposition, 1965); David Weir, Decadence and the Making of Modernism (Amherst. Mass.: University of Massachusetts Press, 1995); Michael St. John and Aldershot Hants Hants eds., Romancing Decay: Ideas of Decadence in European Culture (Brookfield, VT: Ashgate, 1999); Ian Fletcher ed., Decadence and the 1890s (London: E. Arnold, 1979); Steven Berkoff, Decadence and Other Plays: East/West/Greek (London: Faber and Faber, 1989); Lawrence Haworth, Decadence and Objectivity (Toronto: University of Toronto Press, 1977); Robert B. Pynsent ed., Decadence and Innovation: Austro-Hungarian Life and Art at the Turn of the Century (London: Weidenfeld and Nicolson, 1989); Leo McKinstry, Turning the Tide: Decadence and Decline in Modern Britain (London: Michael Joseph, 1997); C. E. M. Joad, Decadence: a Philosophical Inquiry (London: Faber and Faber, 1948); Ellis Hanson, Decadence and Catholicism (Cambridge, Mass.: Harvard University Press, 1997), etc.

[xlii] §õ¼Ú±ë¡G<º©½Í¤¤°ê²{¥N¤å¾Ç¤¤ªºÀZ¼o>¡A¡m·í¥N¡n1994¦~3¤ë¸¹¡F ¦¬¤J¤ý¼w«Â½s¿ï¡G¡m²{¥N©Êªº°l¨D¡X¡X§õ¼Ú±ë¤å¤Æµû½×ºë¿ï¶°¡n¡]»O¥_¡G³Á¥Ð¥Xª©ªÀ¡A1996¦~9¤ë¡^¡C

[xliii] ¸Ñ§Óº³¡G¡m¬üªº°¾¦Ü¡X¡X¤¤°ê²{¥N°ß¬üÀZ¼o«ä¼é¬ã¨s¡n¡]¤W®ü¡G¤W®ü¤åÃÀ¥Xª©ªÀ¡A1997¦~¡^¡C

[xliv] Jonathan Hutt, ¡§La Maison d¡¦Or: The Sumptuous World of Shao Xunmei,¡¨ East Asian History 21 (June 2001): pp. 111-42.

[xlv] ¥Ö®Jº¸¡Pªi­}¤Ìªº¡m¤å¤Æ¥Í産³õ¡n(Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature, ed. & intro. by Randal Johnson, New York: Columbia University Press, 1993)©M¥»¥§­}§J¯S¡P¦w¼w´Ëªº¡m·Q¶Hªº¦@¦PÅé¡G¤Ï«ä¥Á±Ú¥D¸qªº°_·½»P¶Ç¼½¡n(Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London : Verso , 1983) ³Ì¥ý½×­z¨ì³o­Ó¥DÃD¡C¨ü¨ä¼vÅT¡A§õ¼Ú±ë¡B¶P³Á¾å¡Bã¡P¥[°ò¡B¥v®Ñ¬ü¡BÃ䫬٤T¡B¬`¨¦¦æ¤Hµ¥¾ÇªÌª`·N§âªi­}¤Ì©M¦w¼w´Ëªº²z½×¤èªk²¾¥Î¨ì¦Û¤vªº¬ã¨s¤¤¡A¨Ã産¥Í¤F¤@§å»á¦³¼vÅTªºµÛ§@¡Asee Leo Ou-fan Lee, Shanghai Modern; Michel Hockx ed., The Literary Field of Twentieth-century China (Richmond, Surrey: Curzon, 1999); Michel Hockx and Ivo Smits eds., Reading East Asian Writing: The Limits of Literary Theory (London; New York: Routledge, Curzon, 2003); Michel Hockx, Questions of Style: Literary Societies and Literary Journals in Modern China, 1911-1937 (Leiden: Brill, 2003); Joan Judge, Print and Politics: ¡¥Shibao¡¦ and the Culture of Reform in Late Qing China (Stanford, Calif.: Stanford University Press, 1997); Ã䫬٤T¡G¡m<¬G¶m>¾\Ū¥v¡n¡]¥_¨Ê¡G·s¥@¬ö¥Xª©ªÀ¡A2002¡^¡F¬`¨¦¦æ¤H¡G¡m¤é¥»²{¥N¤å¾Çªº°_·½¡n¡]¥_¨Ê¡G¤TÁp®Ñ©±¡A2002¦~¡^¡C

[xlvi]±i­^¶i¦Ò¹î¹L¤T¤Q¦~¥N¤W®üªº²{¥N¥D¸q¤p»¡®a¶ÂÀ¦(±i¬±¤å)¦p¦ó³q¹L敍¨Æ§Þ¥©§â«°¥«ªí­z爲¤@­Ó²Å¸¹Åé¨t¡A¥¦ªº¦h­«·N¸q¼h¦¸»Ý­n³Q¸Ñ½X¡C±i­^¶i»{爲¡A²{¥N³£¥«ªº¤å¥»¥Í産(textual production)¹ê»Ú¤W¬O¤G¤Q¥@¬ö³£¥«¤¤°êªº¤@ºØ¯S®íÃþ«¬ªº²{¥N©ÊÅéÅç¡A¤]´N¬O¤@ºØ²{¥N³£¥«ªº·sÆ[©À»P·sª¾ÃѪº¥Í産¡C³oºØ¬Ýªk¥i¥H»P¥v®Ñ¬üªºÆ[ÂI¬Û¤¬µo©ú¡C For a more thorough treatment, see Yingjin Zhang, ¡§The Texture of the Metropolis: Modernist Inscription of Shanghai in the 1930s,¡¨ in Yingjin Zhang ed., China in a Polycentric World: Essays in Chinese Comparative Literature (Stanford, Calif.: Stanford University press, 1998), pp. 173-87.

[xlvii] ±ß²M¥H­°¡A¡§¤p»¡¡¨³oºØ¦b¶Ç²Î¤å¾Çµ²ºc¤¤©~©óÃä½t¦a¦ìªº¤åÅé¶}©l¤j¨B¨«¦V¤¤¤ß¡A¾á·í¤F±Ò»X»P±Ï¤`ªº¨Ï©R¡A¨Ã¥B¤Î¦Ü«á¨Ó¡A¦]¨ä»P®ø¶O¤å¤Æ©M¤j衆¶Ç´CªºÁp¤â¡A²×©óűo¤F¼s¤jªºÅªªÌ¸s¡F¬Û¤ñ¤§¤U¡A¥Ñ©óªÀ·|/¤å¤Æ»y¹Òªº®t²§¥H¤Î²{¥N±Ð¨|Åé¨îªºÅÜ­²¡A¦A¥[¤W­õ¾Ç¨Ì¾Ú©M¸Öºq¦¨³Wªº®ø¥¢¡A²{¥Nº~¸Öªº§@ªÌ»PŪªÌ¤§¶¡ªº·¾³q¾ô±ç¤]¤£´_¦s¦b¡A¦Ó¥B¥Ñ©ó°Ó«~®ø¶O©M²{¥N¶Ç´Cªº¨B¨B¶i¹G¡A²{¥Nº~¸Ö¤é¯q±q¤å¾Çµ²ºcªº¡§¤¤¤ß¡¨¦VÃä½t«æ¼@ºM°h¡A¶V¨Ó¶VÁͦV¤_¦¨¬°¤@ºØ±M·~¤Æ¡B¨p¤v©Êªº¨Æ·~¡A¹ê¤D¤j¶Õ©ÒÁÍ¡C See Michelle Yeh, ¡§Introduction: from the Margin,¡¨ in her Modern Chinese Poetry: Theory and Practice since 1917 (New Haven, Conn.: Yale University Press, 1991), pp. 1-24.

[xlviii] Wang Zheng, the American Historical Review 107. 2 (April 2002); Guiyou Huang, South Central Review 19. 4 & 20.1 (Winter-Spring 2002¡V2003); Stephanie Hemelryk Donald, Intersections 8 (October 2002); Robin Visser, Journal of Modern Literature in Chinese 5.2 (January 2002); Gang Gary Xu, The Journal of Colonialism and Colonial History, forthcoming.