本文是第一篇從女性漫遊者的角度，探索現代街頭與地鐵攝 影的論文。從波特萊爾（Charles Baudelaire）以來，漫遊者 （flâneur）一直被視為現代藝術家的典型，在藝術史與文學史中 的相關研究汗牛充棟，從1980 年代下半開始，女性主義學者才 開始爭辯在現代時期是否有女性漫遊者（flâneuse）？伍爾芙 （Janet Wolff）與波洛克（Griselda Pollock）以降的學者，一再 地論辯出悲觀的結論。當筆者開始以海倫‧勒薇（Helen Levitt, 1913-2009）的具體個案，探尋女性漫遊者的活動蹤跡，豁然發 現勒薇與公共空間的邂逅，確實激盪出與男性漫遊攝影家殊異的 視象與歷史。勒薇從1930 年代晚期迄今，一直是深受喜愛的街 頭攝影家之一。藉由對照勒薇與影響她的布烈松（ Henri Cartier-Bresson）、艾文斯（Walker Evans）的街頭與地鐵攝影， 筆者發現，相對於這兩位男性漫遊者以保持距離、抽象、普遍的 觀視來認識城市生活，勒薇表達了一種女性漫遊者對城市的獨特 觀看方式：她仍然保持漫遊者的隱匿感，卻喜歡拍攝住家附近的 地方性街頭，正如她自述「可以感受到人們感受到的」，因而比 當時幾位男性街頭攝影家有「更多的同理心（empathy）」 （Gopnik, 2001: 90），藉由隱匿地拍攝住家附近的地方性街頭， 勒薇得以默默地感受人們對活動的熱衷，以及彼此之間的情感連 繫，以同理心捕捉一種洋溢著社區性與親密感的公共空間。

This article explores the street photographs and subway photographs taken by the flâneuse. Since Charles Baudelaire, the flâneur, or the idle stroller, has been regarded as the “ur-form” of the modern artist, writer and intellectual who anonymously wanders amid the flux and flow of the crowd in the city streets and arcades and keenly scrutinizes and studies the crowd—with aloof detachment. For about a century, the flânerie was treated as a white, bourgeois, artistic male privilege. In the late 1980s, feminist scholars began to debate the possibility of a female flânerie. Against their negative arguments, this paper presents a case study of Helen Levitt’s vision of female flânerie in the poor areas of the New York City. Comparing Levitt’s street and subway photographs with Henri Cartier-Bresson’s and Walker Evans’s similar works, I find that her photographs exhibit a special vision of a flâneuse, who tends to remain detached and yet to empathize with the people in their enthusiastic activities and their intimate connectedness in their community-oriented lives in the street.