2014.7.08【英译中】Why Are All the Cartoon Mothers Dead? (4/8)

heyjude1943 (兔纸) 初涉译坛
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发表于:2014-07-08 17:14 [只看楼主] [划词开启]

In the whacked-out, reality-denying world of animated movies, these chubby, wiggly four-fingered udders, which appear on both females and males, are my favorite counterfactuals, bar none. I love, love, love them. The first time I laid eyes on those honkers, my jaw dropped. Even Walt Disney himself, who cooked up pink elephants on parade, never tried this. It was as if the comical leather phalluses of ancient Greek theater had come back to life. As if the directors’ very ids were plastered on the screen. Not only do Barnyard’s bulls have bizarre phallic teats, but Otis rudely swings his out the window of a speeding stolen car while drinking a six-pack of milk—yes, milk—and, as the police chase him, shouts, “Milk me!” Is he saying what I think he’s saying? In a kids’ movie? Could udder envy be any more naked?
在各种反常反现 实的动画电影中,我最爱这些胖乎乎忽忽悠悠的牛乳——不但能出现在母牛身上还能出现在公牛身上——这种反现实的东西无疑是我的最爱。我爱死他们了。我第一次看到这些怪胎,下巴都快掉下来了。就算炮制游行中粉红色大象的沃尔特·迪士尼本人都没试过这个。好像古希腊剧场的用来搞笑的人工皮革丁丁起死回生一样。大屏幕上贴满了导演们的个性标签。《疯狂农场》除了给公牛们安上诡异的丁丁状奶嘴以外,还有一幕:奥蒂斯在一部被盗的汽车上喝六包装的牛奶——是的,牛奶, 还有那时警察正在追着这车子,他把身体晃出车窗大喊道:“给我挤奶! ”他说的是我想的那回事吗?这是给孩子看的电影吗?乳房嫉妒还能更明显点吗?

When I finally shut my jaw, I realized that Barnyard isn’t the only kids’ movie with a case of udder confusion. (In the third Ice Age, Sid the Sloth, while trying to feed the three baby dinosaurs he’s adopted, starts to milk a musk ox before discovering that it’s a guy—ack!) But as far as I know, the Barnyard scene is the most violent instance; when the teated bull yells “Milk me!” it’s like he’s shouting at women everywhere: “You think you’re so hot with your tits and your babies. Well, suck on this! (And then die.)”
当我从震惊中平复下来的时候,我意识到《疯狂农场》不是唯一一部让人产生乳房困惑的儿童电影。(在《冰河世纪3》中,树懒希德想要给收养的三只恐龙崽喂奶,于是他们给一头麝牛挤奶了,结果这麝牛是公的—是的!)但据我所知,《疯狂农场》的场景最为暴力。那头长着乳头的公牛大叫着给我挤奶就像叫给全世界的女人听:“你们以为你们有奶有孩子有什么了不起,哼,尝尝这个!(然后去死吧。)”

That’s how I see it, anyway, and I don’t think I’m alone.
这就是我之所见,不管怎样,我觉得我不是一个人。

In How to Read Donald Duck (1975), Ariel Dorfman, the Chilean American activist and writer, and Armand Mattelart, a Belgian sociologist, discuss the insidiousness of “the absence of woman as mother in Disney.” Rather than presenting any really maternal figure, they say, Disney offers up only “the captive and ultimately frivolous woman,” who lacks any tie to “the natural cycle of life itself”—Cinderella, Sleeping Beauty, Snow White. And in the natural mother’s place, they note, Disney erects a “false mother Mickey,” a creature of “chivalrous generosity” and “fair play” whose authority looks benign and cheery. The absence of a real mother thus makes way for a new authority, a new “natural” order. The road to social repression, in other words, is paved with Mickey Mouse.
在《如何解读唐老鸭》(1975)一书中,阿瑞尔·道弗曼(智利裔美国活动家和作家)和阿尔芒德·马特拉(比利时社会学家)讨论“迪 斯尼母亲角色的缺席”造成的隐患。他们认为,迪斯尼不愿表现真正的母性角色,他们更愿意贡献一些“被奴役的、轻佻的女性”,她们缺乏“与生命自身的自然循 环”相关的联系——灰姑娘、睡美人、白雪公主可见一斑。而在自然母亲一席,迪斯尼创造了自己虚构的“米奇妈妈形象”,混合着“骑士的慷慨”和“公平竞争” 精神的产物,将权威装扮成慈爱和欢乐。缺乏真实的母亲为新权威提供了空间,由此产生了新的“自然次序”。换言之,在通往奴役之路上,铺满了米老鼠。

In today’s movie fathers, there’s plenty of Mickey Mouse. They’re magnanimous, caring, and fun. And I imagine these animated fathers look great to most kids. But let’s call a spade a spade. The ineluctable regularity of the dead-mother, fun-father pattern is not just womb envy at work, and not just aggression against the breast; it’s Mickey’s glove displacing the maternal teat. It’s misogyny made cute.
在如今的电影中,米老鼠形象 充斥在父亲们的角色中。他们宽宏大量、关怀备至而且风趣幽默。我猜想这些生动的父亲形象迷倒了很多孩子。不过让我们实话实说吧。这种“死妈-逗爹”模式具 有不可避免的规律性,这不只是子宫嫉妒的产物,或是乳房侵略,它还是米老鼠外柔内刚的奶嘴移植。这是给厌女症扮可爱。


Dear reader, I hear you objecting again. Perhaps you’re getting irritated. Perhaps you like Pixar. Perhaps you’d like to remind me of some living mothers in a few animated movies: Isn’t that a single mother raising two kids in Toy Story? (Yes, she’s the one who keeps trying to give away the toys.) And isn’t that a mother at the end of The Lego Movie? (Yes, she’s the one who cuts short the nascent father-son bonding moment in the basement by announcing that supper is ready.)
亲爱的读者,我又一次听到你的反对声。也 许你已经感到恼火了。也许你喜欢皮克斯。也许你想提醒我在一部分动画电影中还存在或者的母亲呢:《玩具总动员》里难道不是一个单身母亲抚养两个孩子吗? (是的,她还一直打算把玩具们都送掉呢。)那么在《乐高大电影》的末尾不是也出现了一个母亲吗?(是的,她就是那个打断父子间的亲密时刻,跑到地下室宣布 晚餐准备好了的人)。


What about Fiona, the ogre-princess in Shrek (DreamWorks, 2001)? She certainly seems to be someone’s caricature of a feminist—tough, competent, belching earthily with the boys. By Shrek the Third (2007), she’s pregnant. At her baby shower, she makes all her beautiful, single friends—Snow White, Sleeping Beauty, Cinderella, and Rapunzel—seem like spoiled, materialistic wimps. But when it comes time for Fiona’s own father, a frog king, to pass down the crown, he offers it not to her but to her ogre-husband, Shrek—who eventually turns it down because he has “something much more important in mind.” (He’s going to be a father!) That’s right: the male gallantly refuses all that power (sweet old Mickey) while the female, who should have been next in line for the throne, isn’t asked, and doesn’t complain.
那么《史瑞克》(梦工 厂,2001)中的食人魔公主菲奥娜怎么样?,她绝对是某些女权主义者的漫画版,强硬,能干,混迹于男生中的女汉子。到了《史瑞克3》(2007年),她 怀孕了。在新生儿送礼会上,她邀请了所有漂亮、单身的朋友们——白雪公主,睡美人,灰姑娘,长发公主——一群被宠坏的物质主义软骨头。不过说到菲奥娜自己 的父亲(一只青蛙国王)要将国王的冠冕传下去,接班人不是她,而是她的食人魔丈夫史瑞克——史瑞克最后还是拒绝接受王冠,因为他“心里还有更重要的事情” (他要当爹了!)政治正确的表现如此:男性无畏地拒绝所有的权力诱惑(好一个米奇大哥),而女性,在王位继承权上只能排在后面,既不能多嘴,也不可抱怨。

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分类: 英语
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