本文從後現代對都市漫遊者概念的挪用，分析當代捷克裔美籍圖畫作 家彼得‧席斯（Peter Sís, 1942- ）於上世紀末至二十一世紀初所創作描繪 城市兒童圖畫書中的兒童城市漫遊者，包括《小女孩長大了》（Madlenka, 2000）、《我有一隻狗》（Madlenka’s Dog, 2002）、《消防車》（暫譯， Fire Truck, 1998）、以及《三支金鑰匙》（The Three Golden Keys, 2001）。 本論文目的有三：一在還原、正名都市漫遊者的形象與意義，並透過席斯對 於兒童都市漫遊者的刻畫，討論後現代脈絡對都市漫遊者意涵之延展與翻 新。第二，探討席斯如何透過兒童都市漫遊者看似無為又似有意、既抽離又 涉入的街道步履，遊目行人、聆聽人聲，從而「道」出、看見、並聽聞紐約 大蘋果炫亮奪目背後那個既如室內又像戶外、滿佈魔幻寫實、含藏多元層次 的異質都市空間，以及東歐布拉格石板路下、泥牆縫隙間呼之欲出的歷史與 記憶，彰顯席斯一派迥異於當前云云眾眾同樣描摹都會的童書城市書寫。三 則透過席斯描繪兒童在後現代場域與城市空間的微妙互動，探問兒童如人類學家的都市田野考掘能否為他們帶來不同以往的能動性；又，透過孩子的童 稚之眼，能否為我們揭示不曾看見的都市面向。

Employing the postmodern appropriation of the flâneur, this paper explores the petit flâneur in Peter Sis’s picture books about the city, such as Madlenka (2000) and its sequeal, Madlenka’s Dog (2002), Fire Truck (1998), and The Three Golden Keys (2001). This paper argues that the characterization of the petit flâneur not only distinguishes Peter Sís’s depiction of city from other picture books which also employ walking as the narrative device, but also addresses the meaning of the child’s living in the modern urban spaces of the city. That is, beyond the dazzling and bustling façade of urban city, there exist layers of heterogeneous lives and simultaneous histories that demand a soul like the flâneur who possesses sensitive eyes but detached emotions to uncover and to see through the differences. In the past, the flâneur presupposes a middle-class white male, but now in this postmodern society as children are becoming economically, socially, and politically useful, We witness in Sís’s works that children are capable of carrying out the activity of roaming the streets to grasp some of the meaning of the postmodernity and to acquire an individual’s existential security from the spectacles of the city.