莎乐美是西方文学传统中的经典形象。该形象于20世纪10年代中期由陈独秀介绍到中国，在20年代随王尔德的剧本《莎乐美》在中国的传播而扩散，并在30年代经国人的阐释与重塑而获得新的内涵。在中国现代文学史中，该形象多次出现于关于情感的争论中，并随着人们情感观念的变迁而一再变形。梳理1915年至1936年期间莎乐美形象的变迁，结合时代背景分析这种变迁发生的原因，有助于厘清抗日战争全面爆发前的中国现代情感史的脉络，也有助于揭示个人主义思潮是如何参与到国人的主体性生成的过程中的。
本研究分为三个部分：第一部分从1915年初次进入中国的莎乐美形象入手，探索最早将莎乐美介绍至中国的陈独秀在这一时期的情感观，并深究其情感观背后的政治思想底色。第二部分展示20年代上半叶，当王尔德《莎乐美》的译介走向高潮时，陆思安、沈泽民、田汉等不同文学阵营的新知识分子对莎乐美形象的不同阐释与评价。尽管他们对莎乐美的理解有差异，但他们在讨论中都以“人的解放”为终极关怀，且他们对莎乐美之爱的理解都始终未脱离灵肉二元论的框架，未摆脱对肉欲的轻蔑。第三部分梳理20年代后期至30年代中后期，莎乐美形象进入中国的多样化渠道、其受众群体的变化、以及该形象在脱离王尔德作品语境后呈现于人们日常生活中的样貌。张竞生是这一时期最重要的人物。他在性学普及运动中将莎乐美之爱还原为肉体之爱；他的生命美学促成了莎乐美形象的庸俗化；而他的“情杀合理论”又间接导致了莎乐美形象的污名化。
总的来说，在从现代文学史开端至抗日战争全面爆发的近二十年间，国人眼中的莎乐美形象在不断地变化，这些变化不仅反映了国人对于莎乐美之爱的理解的多样性，还暗含个人主义在现代中国发展的线索。

 

Salome is a classic image in western literary tradition. This image was introduced to China by Chen Duxiu in the mid-1910s. It got famous with the spread of Wilde's Salome in the 1920s and gradually distorted in the 1930s while Chinese people used and interpreted it in new contexts which have no relation to Wilde's play. In the history of modern Chinese literature, the image has been repeatedly drawn into debates about emotions and has been changing with people's understanding of emotions. Listing the different appearances of Salome in China between 1915 and 1936, and then finding out the reasons for the changes in combination with the social background, helps to reconstruct the history of modern Chinese emotions and reveal how individualism participated in the process of the formation of the subjectivity of the Chinese.
The thesis consists of 3 chapters: the first chapter begins with Chen Duxiu's introduction of Salome in 1915, explores his understanding of emotion, and investigates the political background behind his emotional view. The second part reveals that in the first half of the 1920s when the translation of Wilde's Salome reached its climax, participants of the New Culture Movement from different literary camps, like Lu Si'an, Shen Zemin, and Tian Han, interpreted and evaluated the image of Salome differently. Although their understanding of Salome varied, they all took "human liberation" as the ultimate concern in their discussions, and their reflection on Salome's love had never come out of the dualism of body and spirit, nor had they accepted the body desire. The third part depicts the expansion of the sources of Salome's image from the late 1920s to the 1930s, the changes in the audience of related works, and the appearance of Salome's image in people's daily lives after it had been separated from the context of Wilde's works. Zhang Jingsheng was the most important figure of this period. He devoted himself to sexology popularization, which turned Salome's love from the love of spirit into that of the flesh; his "life aesthetics" contributed to the vulgarization of Salome's image, and his "theory of love and killing" indirectly led to the infamy of Salome.
In general, in the twenty years from the beginning of modern literary history to the outbreak of the War of Resistance Against Japan, the image of Salome in the eyes of the Chinese people has been constantly changing, and these changes not only reflect the diversity of the Chinese people's understanding of Salome's love but also reveals the clues to the development of modern individualism in China.