本文希望從文學風格的角度──保爾．穆杭 (1888-1976) 留給日本文學史最大的印 象之一，再探日本新感覺派和上海新感覺派對穆杭的接受。首先，本文疏理日本文化界 如何接受和討論穆杭的文學風格，特別是穆杭作品的日文主要譯者堀口大學 (1892-1981) 的評論。過程中，本文嘗試結合法國對此問題的研究，從而加深文學風格中意象問題的 理論層次。接著，本文以日本新感覺派的代表人物橫光利一 (1898-1947) 和上海新感覺 派的代表人物劉吶鷗 (1905-1940) 為重點，看前者如何運用「印象手法的文體」，後者 如何運用「力學的意象形式」來回應穆杭的文學風格。最後，本文希望從理論層面去討 論文學風格與現代主義之關係，從而帶出日本及上海新感覺派於文學風格上的嘗試，對 現代主義的發展有何意義。

The literary style of Paul Morand (1888-1976) left a tremendous impression on the history of Japanese literature. This article investigates the reception of Morand’s works by the Japanese and Shanghai Neo-Sensationalist Schools from the perspective of literary style. First, I review how the Japanese intellectuals received and discussed Morand’s style, with special reference to the commentaries of Horiguchi Daigaku 堀 口大學 (1892-1981), and I also examine the French intellectual reflection on this topic. Next, the article concentrates on Yokomitsu Riichi 橫光利一 (1898-1947), a representative of the Japanese Neo-Sensationalist School, and on Liu Na’ou 劉吶鷗 (1905-1940), one of the key founders of the Shanghai Neo-Sensationalist School, to illustrate how the former employed an “impressionistic style”, while the latter used a “mechanical form of image”, to respond to Morand’s literary style. In conclusion, the article evaluates the relationships between the literary styles of these writers and modernism and also investigates the influence that the various literary attempts of the Japanese and Shanghai Neo-Sensationalist Schools had on the development of modernism in their respective countries.