2014.7.02【英译中】Why Are All the Cartoon Mothers Dead?(1/8)

heyjude1943 (兔纸) 初涉译坛
126 16 0
发表于:2014-07-02 10:12 [只看楼主] [划词开启]


Why Are All the Cartoon Mothers Dead?

The dead-mother plot is a classic of children’s fiction, but animated movies have supplied a new twist: the fun father has taken her place.

Sarah Boxer Jun 25 2014, 9:06 PM ET


Bambi’s mother, shot. Nemo’s mother, eaten by a barracuda. Lilo’s mother, killed in a car crash. Koda’s mother in Brother Bear, speared. Po’s mother in Kung Fu Panda 2, done in by a power-crazed peacock. Ariel’s mother in the third Little Mermaid, crushed by a pirate ship. Human baby’s mother in Ice Age, chased by a saber-toothed tiger over a waterfall.

小鹿斑比的妈 妈,被射死了。尼莫的母亲,被梭子鱼吃掉了。 丽洛的母亲,死于车祸。《熊的传说》里可达的母亲,被矛刺死了。《功夫熊猫2》中,阿宝的母亲,被一只权力狂的孔雀干掉了。《小美人鱼3》阿瑞尔的妈妈, 被海盗船压扁了。《冰河世纪》里人类婴儿的母亲,被一只剑齿虎在瀑布上追逐。

I used to take the Peter Pan bus between Washington, D.C., and New York City. The ride was terrifying but the price was right, and you could count on watching a movie on the screen mounted behind the driver’s seat. Mrs. Doubtfire, The Man Without a Face, that kind of thing. After a few trips, I noticed a curious pattern. All the movies on board seemed somehow to feature children lost or adrift, kids who had metaphorically fallen out of their prams. Gee, I thought, Peter Pan Bus Lines sure is keen to reinforce its brand identity. The mothers in the movies were either gone or useless. And the father figures? To die for!

我曾经坐过从 华盛顿特区到纽约市的小飞侠长途汽车。旅程糟糕不过价格便宜。司机座位后面安装着一个屏幕,你可以看看上面的电影打发时间。上面播放的片子诸如《窈窕奶 爸》、《无脸的男人》之类。乘过几趟车之后,我发现一个奇怪的规律。车上播放的所有电影似乎都是莫名其妙的关于孩子们,通过孩子掉出婴儿车的隐喻说明他们 的迷失和漂泊。我的神呐,我不禁想小飞侠公交线路该是多么热衷于加强其品牌形象啊。电影里的母亲不是离家出走就是没半点能耐。而父亲的形象呢?结果都是死掉了

A decade after my Peter Pan years, I began watching a lot of animated children’s movies, both new and old, with my son. The same pattern held, but with a deadly twist. Either the mothers died onscreen, or they were mysteriously disposed of before the movie began: Chicken Little, Aladdin, The Fox and the Hound, Pocahontas, Beauty and the Beast, The Emperor’s New Groove, The Great Mouse Detective, Ratatouille, Barnyard, Despicable Me, Cloudy With a Chance of Meatballs, and, this year, Mr. Peabody and Sherman. So many animated movies. Not a mother in sight.

从那十年后, 我开始和我的儿子一起看了很多的儿童动画电影,有新有旧。电影依然奉行同样的模式,不过有一点致命的转折:这些电影里母亲要么死于屏幕之上,要么就 神神秘秘的在电影开始之前就被处理掉了:《四眼天鸡》,《阿拉丁》,《狐狸与猎犬》,《风中奇缘》,《美女与野兽》,《变身国王》,《妙妙侦探》,《料理 鼠王》,《疯狂农庄》,《卑鄙的我》,《美食从天而降》,还有,今年的《天才眼镜狗》。这么多的动画电影上映,却看不到一个母亲。

The cartoonist Alison Bechdel once issued a challenge to the film industry with her now-famous test: show me a movie with at least two women in it who talk to each other about something besides a man. Here’s another challenge: show me an animated kids’ movie that has a named mother in it who lives until the credits roll. Guess what? Not many pass the test. And when I see a movie that does (Brave, Coraline, A Bug’s Life, Antz, The Incredibles, The Lion King, Fantastic Mr. Fox), I have to admit that I am shocked … and, well, just a tad wary.

漫画家艾莉 森·贝克德尔曾经以她著名的实验向电影工业发出挑战:能不能给我一部电影,里面至少有两个女人,她们谈论的话题不是男人。下面是另一个挑战:给我一部动画 儿童电影,里面有一个有名有姓的母亲,她能一直活到电影结尾。你猜怎样?没有多少电影能通过测试。每当我看到一部电影居然做到了这一点(《勇敢传说》,《鬼 妈妈》,《虫虫特工队》,《小蚁雄兵》,《超人总动员》,《狮子王》,《了不起的狐狸爸爸》),我不得不承认我震惊了......,好吧,我有点警惕过头 了。

But I’m getting ahead of myself. The dead-mother plot has a long and storied history, going back past Bambi and Snow White, past the mystical motherless world of Luke Skywalker and Princess Leia, past Dickens’s orphans, past Hans Christian Andersen’s Little Mermaid, past the Brothers Grimm’s stepmothers, and past Charles Perrault’s Sleeping Beauty and Cinderella. As Marina Warner notes in her book From the Beast to the Blonde, one of the first Cinderella stories, that of Yeh-hsien, comes from ninth-century China. The dead-mother plot is a fixture of fiction, so deeply woven into our storytelling fabric that it seems impossible to unravel or explain.

但是我的观察 不仅于此。死妈情结有着悠久而传奇的历史,可以追溯到《小鹿斑比》和《白雪公主》,天行者卢克和莱娅公主没有母亲的世界,狄更斯的孤儿们,安徒生的小美人 鱼,格林兄弟的继母们,查尔斯·佩罗的睡美人和灰姑娘。正如曼瑞娜·沃纳在她的书中(《从野兽到美女》)指出,灰姑娘的故事源头之一,是一个来自中国九世 纪的名叫叶仙(音)的女孩子。死妈情结是虚构作品的融合,深深地交织成在故事讲述的碎片之中,难以言喻或分析。

But some have tried. In Death and the Mother From Dickens to Freud: Victorian Fiction and the Anxiety of Origins (1998), Carolyn Dever, a professor of English, noted that character development begins “in the space of the missing mother.” The unfolding of plot and personality, she suggests, depends on the dead mother. In The Uses of Enchantment (1976), Bruno Bettelheim, the child psychologist, saw the dead mother as a psychological boon for kids:

但也曾人试过 分析。英语教授卡罗琳·德弗在《论死亡和母亲-从狄更斯到弗洛伊德:维多利亚时期的小说及起源之焦虑》(1998)一书中指出:人物性格的发展始于母亲的 缺失。她暗示,情节和个性的演变取决于死去的母亲。在《魔法的用途》(1976)一书中,儿童心理学家布鲁诺·贝特尔海姆,发现死去的母亲对于孩子是一种 心理恩惠:

The typical fairy-tale splitting of the mother into a good (usually dead) mother and an evil stepmother … is not only a means of preserving an internal all-good mother when the real mother is not all-good, but it also permits anger at this bad “stepmother” without endangering the goodwill of the true mother.


最后编辑于:2014-07-02 10:15
分类: 英语
全部回复 (16) 回复 反向排序

  • 0


  • 收藏

  • 扫一扫分享朋友圈


  • 分享