雙語文摘麥當(dāng)娜女權(quán)主義者
麥當(dāng)娜,不知道大家有沒有聽說過她呢?接下來，小編給大家準(zhǔn)備了雙語文摘麥當(dāng)娜女權(quán)主義者,歡迎大家參考與借鑒。
雙語文摘麥當(dāng)娜女權(quán)主義者
Defending her controversial new video "Justify My Love" on "Nightline" last week, Madonna stumbled, rambled and ended up seeming far less intelligent than she really is.
在上周“夜間線路”節(jié)目中，麥當(dāng)娜磕磕巴巴的，漫無邊際的說著話，以捍衛(wèi)她充滿爭議新的電視錄像“證明我的愛”，最后讓人覺得她遠(yuǎn)不如真正的她那般機(jī)智了。
Madonna, 'fess up.
麥當(dāng)娜，坦白吧。
The video is pornographic. It's decadent. And it's fabulous. MTV was right to ban it, a corporate resolve long overdue. Parents cannot possibly control television, with its titanic omnipresence.
這錄像是個(gè)作品。它很頹廢，并且令人難以置信。MTV將其禁播是正確的，作為一個(gè)公司解決早該解決的問題。父母不能控制電視，因?yàn)殡娨晫?shí)在是無處不在。
Prodded by correspondent Forrest Sawyer for evidence of her responsibility as an artist, Madonna hotly proclaimed her love of children, her social activism and her condom endorsements. Wrong answer. As Baudelaire and Oscar Wilde knew, neither art nor the artist has a moral responsibility to liberal social causes.
面對(duì)記者弗瑞斯特·索耶尖銳指出她作為一個(gè)藝術(shù)家應(yīng)付責(zé)任的證據(jù)，麥當(dāng)娜熱誠的宣稱她對(duì)孩子的愛，她的社交行為和她的避孕套宣傳。錯(cuò)誤的答案。正如波德萊爾和奧斯卡懷爾德所知，無論是藝術(shù)還是藝術(shù)家對(duì)這個(gè)自由社會(huì)起因都不付有道德上的責(zé)任。
"Justify My Love" is truly avant-garde, at a time when that word has lost its meaning in the flabby art world. It represents a sophisticated European sexuality of a kind we have not seen since the great foreign films of the 1950's and 1960's. But it does not belong on a mainstream music channel watched around the clock by children.
“證明我的愛”真的很前衛(wèi)，曾經(jīng)一度，這個(gè)詞在疲軟的藝術(shù)世界失去了意義。它代表了一個(gè)一種精妙的歐洲性活動(dòng)，這是自1950到1960間偉大的外國電影之后我們就再也沒有見過的。但是，它確實(shí)不屬于一個(gè)時(shí)時(shí)刻刻都能讓孩子們觀賞的主流音樂頻道。
On "Nightline," Madonna bizarrely called the video a "celebration of sex." She imagined happy educational scenes where curious children would ask their parents about the video. Oh, sure! Picture it: "Mommy, please tell me about the tired, tied-up man in the leather harness and the mean, bare-chested lady in the Nazi cap." O.K., dear, right after the milk and cookies.
在“夜間線路”中，麥當(dāng)娜含糊的把這個(gè)錄影帶稱為“性慶祝儀式”。她妄想健康的教育情境是，當(dāng)觀看的時(shí)候好奇的孩子會(huì)問他們的父母關(guān)于這個(gè)錄影帶的內(nèi)容。哦，當(dāng)然!想像一下這個(gè)場景：“媽媽，給我說說這個(gè)疲倦的被綁著皮馬具的人，還有這壞壞的戴著納粹帽子裸露著乳房的女人?！焙玫?，親愛的，喝完牛奶吃完餅干以后馬上就講。
Mr. Sawyer asked for Madonna's reaction to feminist charges that, in the neck manacle and floor-crawling of an earlier video, "Express Yourself," she condoned the "degradation" and "humiliation" of women. Madonna waffled: "But I chained myself! I'm in charge." Well, no. Madonna the producer may have chosen the chain, but Madonna the sexual persona in the video is alternately a cross-dressing dominatrix and a slave of male desire.
索耶先生詢問麥當(dāng)娜對(duì)于女權(quán)主義指控的回應(yīng)，關(guān)于之前的錄影帶上脖子套上拷鏈趴在地上的情境，“表達(dá)了你自己”，她寬恕了女人的“墮落”和“恥辱”。麥當(dāng)娜含糊說道：“但是我約束著自己!我負(fù)責(zé)?！编蓿皇前?。作為制片的麥當(dāng)娜也許選擇約束，但是錄影帶里扮演性愛角色的麥當(dāng)娜確另一方面穿著異性服裝對(duì)一個(gè)男性奴隸施暴。
But who cares what the feminists say anyhow? They have been outrageously negative about Madonna from the start. In 1985, Ms. magazine pointedly feted quirky, cuddly singer Cyndi Lauper as its woman of the year. Great judgment: gimmicky Lauper went nowhere, while Madonna grew, flourished, metamorphosed and became an international star of staggering dimensions. She is also a shrewd business tycoon, a modern woman of all-around talent.
但是誰在乎女權(quán)主義說了什么?他們從一開始就已經(jīng)完全發(fā)對(duì)麥當(dāng)娜了。在1985年，女士雜志離奇的致敬，可愛的歌手辛蒂露波是那一年的主打女性。偉大的評(píng)價(jià)：狡猾的露波哪兒也沒去，當(dāng)麥當(dāng)娜成長，成熟，變質(zhì)然后成為一個(gè)多棲國際明星。她同樣也是一個(gè)精明的商業(yè)大亨，擁有全面智慧的現(xiàn)代女性。
Madonna is the true feminist. She exposes the puritanism and suffocating ideology of American feminism, which is stuck in an adolescent whining mode. Madonna has taught young women to be fully female and sexual while still exercising total control over their lives. She shows girls how to be attractive, sensual, energetic, ambitious, aggressive and funny -- all at the same time.
麥當(dāng)娜是真正的女權(quán)主義。她揭露了清教主義和令人窒息的美國女權(quán)主義意識(shí)，這些陷入了一個(gè)青少年抱怨的模式中。麥當(dāng)娜教會(huì)年輕女性成為完全的女性和完全的性，同時(shí)體驗(yàn)對(duì)自己生命的完全掌控。她給女孩們展示了怎樣變得吸引人，性感，有活力，有野心，上進(jìn)和有趣----同時(shí)擁有所有的一切。
American feminism has a man problem. The beaming Betty Crockers, hangdog dowdies and parochial prudes who call themselves feminists want men to be like women. They fear and despise the masculine. The academic feminists think their nerdy bookworm husbands are the ideal model of human manhood.
美國的女性主義有一個(gè)男人的問題。令人愉快的貝蒂汽車保養(yǎng)，令人愧疚的邋遢女人和眼光狹隘的保守女人，她們稱女權(quán)主義者希望男人變得跟女人一樣。他們害怕并且鄙視男性化。學(xué)術(shù)上的女權(quán)主義者認(rèn)為他們的書呆子丈夫是人類男子氣概的最理想模式。
But Madonna loves real men. She sees the beauty of masculinity, in all its rough vigor and sweaty athletic perfection. She also admires the men who are actually like women: transsexuals and flamboyant drag queens, the heroes of the 1969 Stonewall rebellion, which started the gay liberation movement.
但是麥當(dāng)娜愛真正的男人。她能夠發(fā)現(xiàn)男子氣概之美，存在于一切粗獷的活力和甜蜜的健壯的完美。她也尊重那些實(shí)際上像女人的男人：變性人和穿著浮夸的裝扮女王，1969石墻暴動(dòng)(開啟了男同性戀自由運(yùn)動(dòng))的英雄們。
"Justify My Love" is an eerie, sultry tableau of jaded androgynous creatures, trapped in a decadent sexual underground. Its hypnotic images are drawn from such sado-masochistic films as Lililana Cazani's"The Night Porter" and Luchino Visconti's "The Damned." It's the perverse and knowing world of the photographers Helmut Newton and Robert Mapplethorpe.
“證明我的愛”是的膽怯，難忍欲望的場景，一個(gè)精疲力竭的陰陽人困在一個(gè)墮落的性愛地鐵。其中催眠的畫面是從麗麗拉納 卡扎尼“午夜守門人”和盧奇諾·維斯康蒂的“恐怖詛咒”一類虐待電影中得來。這是攝影師赫爾穆特·牛頓和羅伯特馬普爾索普墮落的，不可預(yù)知的世界。
Contemporary American feminism, which began by rejecting Freud because of his alleged sexism, has shut itself off from his ideas of ambiguity, contradiction, conflict, ambivalence. Its simplistic psychology is illustrated by the new cliche of the date-rape furor:" 'No' always means 'no'. " Will we ever graduate from the Girl Scouts? "No" has always been, and always will be, part of the dangerous, alluring courtship ritual of sex and seduction, observable even in the animal kingdom.
當(dāng)代的美國女權(quán)主義，開始于反對(duì)弗洛依德(因?yàn)樗^的性別歧視)，把它自己與佛洛依德的模糊的，矛盾的，斗爭的思想隔離開。對(duì)于約會(huì)強(qiáng)奸的新版陳詞濫調(diào)可以說明存在其中的簡單心理特征：“‘不’總是意味著‘不’”。我們永遠(yuǎn)會(huì)從女童軍畢業(yè)么?“不”總是，并永遠(yuǎn)是，危險(xiǎn)的對(duì)于性和色誘的誘惑追求儀式的一部分，即使在動(dòng)物王國也能看到。
Madonna has a far profounder vision of sex than do the feminists. She sees both the animality and the artifice. Changing her costume style and hair color virtually every month, Madonna embodies the eternal values of beauty and pleasure. Feminism says, "No more masks." Madonna says we are nothing but masks.
比起女權(quán)主義者，麥當(dāng)娜對(duì)性有一個(gè)更加深遠(yuǎn)的認(rèn)識(shí)。她看到了獸性和技巧性。每個(gè)月都會(huì)改變她的演出服裝風(fēng)格和頭發(fā)顏色，麥當(dāng)娜將美和愉悅?cè)谌肓送獗淼膬r(jià)值。女權(quán)主義者認(rèn)為，“沒有了的面具。”麥當(dāng)娜認(rèn)為我們除了面具什么都不是。
Through her enormous impact on young women around the world, Madonna is the future of feminism.
通過她對(duì)于全世界年輕女性的巨大影響，麥當(dāng)娜就是女權(quán)主義的未來。
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