2014.7.06【英译中】Why Are All the Cartoon Mothers Dead? (3/8)

heyjude1943 (兔纸) 初涉译坛
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发表于:2014-07-06 13:13 [只看楼主] [划词开启]


Quite simply, mothers are killed in today’s kids’ movies so the fathers can take over. (Of course, there are exceptions; in Lilo and Stitch, for instance, both of Lilo’s parents die and it’s her big sister who becomes the surrogate parent.) The old fairy-tale, family-romance movies that pitted poor motherless children against horrible vengeful stepmothers are a thing of the past. Now plucky children and their plucky fathers join forces to make their way in a motherless world. The orphan plot of yore seems to have morphed, over the past decade, into the buddy plot of today. Roll over, Freud: in a neat reversal of the Oedipus complex, the mother is killed so that the children can have the father to themselves. Sure, women and girls may come and go, even participate in the adventure, but mothers? Not allowed. And you know what? It looks like fun!

简单说来,在 今天的儿童电影中母亲的死亡是为父亲的接管而设置。(当然也有例外,在《星际宝贝》中,丽洛父母双,她的长姐成为代理家长)以前那些童话的家庭浪漫剧模 式——可怜的丧母孩童对阵可怕而报复心极重的继母——已经是过去式了。现在,勇敢的孩子们和他们勇敢的父亲联手在一个没有母亲的世界开辟一条道路出来。昔 日的孤儿情节似乎在过去的十年中已经演变成为今天的哥们情节。反过来看弗洛伊德的说法:这是俄底浦斯情结的平滑逆转,母亲被杀害,于是孩子们能够完全拥有父亲。当然,姑娘们能够随意往来,甚至参与冒险。但母亲?此路不通。而且你知道吗?这样子看起来很有趣哦!


Dear reader, I hear your objection: So what? Hollywood has always been a fantasyland. Or, to quote the cat in Bolt (Disney, 2008), a kids’ movie about a dog who thinks he’s actually a superhero because he plays one on TV: “Look, genius … It’s entertainment for people. It’s fake! Nothing you think is real is real!” Get over it. It’s just a movie. Or, to quote the empowerment anthem from Frozen (in which both parents die), “Let it go.”
亲爱的读者,我听到了你们的反对声:那又怎么样?好莱坞本就一直是造梦工厂。或者,引用《闪电狗》(迪斯尼,2008年:该儿童电影讲述了一只在电视上演出过、就自以为是超级英雄的 狗)中一只猫的话:“天才们,你们瞧...这是供人娱乐的东西。都是假的!你当真的东西全都是假的!”算了吧。只是一部电影而已。或者,引用《冰雪奇缘》 (其中父母双亡)那首脍炙人口的歌:“顺其自然”吧。


Okay, I will. But first, a brief dip into reality. Did you know that 67 percent of U.S. households with kids are headed by married couples, 25 percent by single mothers, and only 8 percent by single fathers (almost half of whom live with their partners)? In other words, the fantasy of the fabulous single father that’s being served up in a theater near you isn’t just any fantasy; it’s close to the opposite of reality. And so I wonder: Why, when so many real families have mothers and no fathers, do so many children’s movies present fathers as the only parents?

好吧,我会让它去的。但首先,让我们短暂的看一下现实。你知道吗,67%的美国家 庭,孩子是由父母双方照顾的;25%的家庭由单身母亲照顾小孩;而只有8%的家庭是单身父亲照顾孩子的。(其中近一半的单身父亲还是与人合住的)换句话 说,电影院里鼓吹出来的美妙单身父亲的幻想,根本不是那么虚幻——它贴近的是现实的对立面。所以我在想:为什么现实那么多家庭有母亲而无父亲,而现在这么 多儿童电影却把父亲当做唯一的家长?


Is the unconscious goal of these motherless movies to paper over reality? Is it to encourage more men to be maternal? To suggest that fathers would be better than mothers if only they had the chance? To hint that the world would be better without mothers? Or perhaps we’re just seeing a bad case of what the psychoanalyst Karen Horney called “womb envy.” Or maybe an expression of the primal rage that the psychoanalyst Melanie Klein described as the infant’s “uncontrollable greedy and destructive phantasies and impulses against his mother’s breasts.”

是失母电影掩盖现实的无意识目标吗?还是为了催生更多的男人更加具有母性?或只是暗示若给男人机会的话,父亲会比母亲做的更棒?亦或者暗示这世界要是没有母亲会更好?再或者,也许只是精神分析学家凯伦·霍妮所描述的“子宫嫉妒”的坏典型。又或是心理分析 学家梅兰妮·克莱恩所描述的“原始愤怒”的表达——婴儿“对母亲的乳房无法控制的贪婪和破坏性的幻想和冲动。”

Consider Barnyard (Paramount/Nickelodeon, 2006), a deeply lame reworking of the Lion King plot, in which the father bull, Ben, teaches his reckless, motherless, goof-off son, Otis, how to be a man. (“A strong man stands up for himself; a stronger man stands up for others.”) As pathetic as Barnyard is, there’s something truly staggering in it. Whenever the bulls stand up on two hooves, they reveal pink udders right where their male equipment should be—rubbery teats that resemble, as Manohla Dargis described them in The New York Times, “chubby little fingers waving toodle-oo.”


参考一下《疯狂农场》(派拉蒙/尼可洛登,2006年),全片套用《狮子王》故事情节,却改造的一塌糊涂。其中的父亲,一只名叫本的公牛,教他的儿子奥蒂斯——一个鲁莽、丧母、整天混日子的家伙如何成为一个男人。(“一个强大的人能够保护自己;更为强大的人能够保护群众。”)《疯狂农场》这部可悲的电影,里面却有些难以置信的东西。 每当公牛用后蹄站立的时候,该是男性特征的部位显示的却是粉红色的牛乳——正如曼诺拉·达吉斯在纽约时报上的描述:橡胶状的乳头就像“胖乎乎的小手指挥舞 着说再会。”


字数:1032 字

最后编辑于:2014-07-07 21:35
分类: 英语
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