本文是一篇以漫遊者的身體經驗所寫成的巴黎－台北城市史。透過本雅明筆下現代城市「漫遊者」（flâneur）的原型－詩人波特萊爾，這個在十九世紀的巴黎街頭無所事事、遊移的波希米亞人，如何在閒逛的過程中，冷眼目睹逐漸消長的新、舊巴黎，並以身體碰撞永恆的現代性寓言。而很多人不知道，台北在1970年前後曾有一段「巴黎化」的過程，包括仁愛圓環、仁愛路、敦化北路林蔭大道以及各項公共藝術的推動等，構想源頭即來自巴黎。據此，本文嘗試從「漫遊者」波特萊爾身體力行的巴黎城作為出發點來理解台北的漫遊文化：在不同時空中的漫遊者，他們是誰？看到什麼？他們的身體如何移動？與他者的關係為何？而用一個歷史漫遊回顧的腳步，來探討台北漫遊文化的轉變，這不僅僅對城市空間外在感官的歷史表列而已，亦即過去對於漫遊者的「身體」所存在的集體與一般的意象，更著重的是身體的內在尊嚴以及身體的多樣性。而在追溯這個身體在時空移動的軌跡時，我們卻發現這個身體，矛盾地以自由為名被規訓化了。

The article is an urban history of Paris-Taipei with the corporal experience of flâneurs. Through Baudelaire, the archetype of flâneur in the works of Benjamin, we try to see how this idle wandering bohemian of the 19^th century Paris streets looked coldly at the decline of the city and created the eternal fables of Modernity with body collisions. And few people know that there was ＂the Paris-based＂ reconstruction process in Taipei around 1970, including Dun Hua and Ren Ai grand boulevards and some public art works, the ideas just came from Paris city. Accordingly, this paper attempts to see the flâneur culture in the footsteps of Baudelaire: the flâneurs of different periods of time, who are they? What do they see? How does their body move? And how are their relationships with others? And to review the flâneur culture of Taipei with the historical footsteps, this is not only a historical listing of corporal sensations for external urban space, or the collective or general images of the flâneur's body in the past, but more emphasis is put on the inherent dignity and diversity of the body. While following this retroactive trajectory of the body, we find that this body, contradictorily, has been disciplined in the name of freedom.