本論文旨在探討《巴黎的愛湊熱鬧者：聚集，街道的群像》一書，在法國插畫書歷史中的時代意涵。
此本書內容是以藏書家Octave Uzanne邀請畫家Félix Vallotton製作三十幅描繪巴黎當代街道的生態景象版畫作為主軸，並伴隨著受Vallotton版畫所啟發的十五位《白雜誌》（La Revue Blanche）作家所創作的三十個短文故事及版畫家François Courboin超過百幅的插畫。在此圖先於文的情況下，此本書的圖像已不再像傳統般隸屬於文字之下，而是它自身賦予自身的意義。再者，Uzanne在此書序文中表示，此本書中的圖樣是「過往圖樣與未來圖樣的轉捩點」，本論文便是基於上述的脈絡，透過「圖像風格」、「主題呈現」、以及「圖文關係」的三重脈絡分析，意欲論證《巴黎的愛湊熱鬧者：聚集，街道的群像》具有重新定義插圖書的意圖，收錄於此書的圖像亦因此具備變動的性質。
本論文分三章。第一章「圖像風格」一開始探討Uzanne邀請Vallotton製作群眾版畫的動機，接著比較Vallotton及Courboin 在此插畫書中的插畫風格的差異，進而理解這兩位插畫家分別代表了傳統及現代的藝術風格。在比較兩者差異之後，突顯了此本書的圖像在插畫書歷史中有承先啟後的效果，進而理解Uzanne雇用兩位插畫家的意圖。再者，藉由討論次本書的插畫技法，確立不僅是在圖像視覺表現上，而在圖像技法運用上也都有著承先啟後的意圖。
第二章是「主題呈現」分成兩個部分來討論。第一部分研究Vallotton的群眾圖像，研究Vallotton替此書製作的書皮及三十幅版畫，並比較之前作品，討論Vallotton的藝術風格，進而帶出此本書的主角—群眾。在十九世紀末，社會學有關群眾的理論到達高峰，第二部分便在群眾研究脈絡下，藉由研究十九世紀法國報紙社會新聞欄的圖像 (Fait divers) 討論愛湊熱鬧者（Badaud）是如何在十九世紀末被視覺化，並比較相對概念的漫遊者（Flâneur）之間的關係。此章藉由爬梳愛湊熱鬧者（Badaud）的視覺形塑轉變，確立Vallotton的群眾圖像的時代意涵。
第三章「圖文關係」研究在十九世紀插畫書的圖文關係中，插畫的地位漸漸地超越了文字，而由於此本書的圖先於文之前，在插畫書的歷史中是相當獨特的，而在這樣圖文關係之下，揭示了藝術家之書(Artist’s Book)的出現。透過此三重脈絡分析，檢視此本插畫書展現出的時代變動性質。

Published in 1896, Badauderies Parisiennes is an illustrated book in which Octave Uzanne (1851-1931) requested Félix Vallotton (1865-1925) to design thirty relief prints related to contemporary Parisian street life in the late 19th century. His ambition was to ask fifteen writers from the avant-garde revue La Revue Blanche to write thirty stories after Vallotton’s prints which would at their turn been enlivened by over one hundred vignettes realized by François Courboin (1865- 1926). With the illustrations made prior to the text, this singular production process initiated by Uzanne for an illustrated book underscores the priority of images over words.
Uzanne proclaims his ambition in the preface that this publication was meant to play a transitional role by combining the art of illustration of the past with that of the future. This study is based on this premise and examines to which extent Badauderies Parisiennes plays a transitional role in the history of illustrated books. This thesis is divided into three chapters, each one centering on aspects that may help understand at different levels the intrinsic transitional dimension of the book.
Chapter one examines the book from the perspective of the medium by comparing the illustrations of Vallotton and Courboin who respectively epitomize a modern and a traditional style. Besides, it focuses on the controversial issue of the printing technique at stake in Badauderies Parisiennes and discusses its transitional role in terms of printing technique.
Chapter two analyzes the book’s thematic perspective, by recontextualizing the specificity of Vallotton’s book jacket, the thirty relief prints and his previous depictions of the urban crowd at the time when sociological theories of the crowd were reaching their peak. Built upon this sociological background, the contrast between the badaud and the flâneur will be underlined. In addition to Vallotton’s fascination with and depiction of the badaud, this chapter will also bring into discussion how this figure was gradually shaped in Fait divers, a newspaper column, around the end of 19th century France. Such a comparative study on the badaud in Fait divers will provide a context for a more thorough understanding of its depiction in Vallotton’s work.
Chapter three studies the relationship between image and text in terms of the history of illustrated books. Resting upon the priority of image over text in the production process of Badauderies Parisiennes, this chapter argues that such a unique phenomenon heralds the emergence of the Artist’s Book and thereby manifests the transitional role that Badauderies Parisiennes embodies in the history of illustrated books.

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