漫步中的女子

英文部分選自經(jīng)濟(jì)學(xué)人Obituary版塊

Ninalee Allen Craig died on May 1st

The star of one of the 20th century’s most famous and controversial images was 90

尼納利·艾倫·克雷格（Ninalee Allen Craig）,，20世紀(jì)最有名,，最備受爭(zhēng)議的明星之一，于5月1日去世,，享年90歲,。

THE photograph, by Ruth Orkin, was called “American Girl in Italy, Florence, 1951”. Whenever it surfaced, in restaurants, in students’ rooms, on T-shirts, on tote bags, so did the questions for Ninalee Allen Craig, who walked at its heart through a phalanx of Italian men. They stared and leered; one grabbed his crotch; their calls were almost audible. Wasn’t she afraid? Surely she was upset? Her downcast eyes, that clutch of her shawl, strongly suggested both those things.

美國(guó)著名攝影師露絲·奧金（Ruth Orkin）有一幅作品，名為《記1951年：意大利佛羅倫薩街上的美國(guó)女孩》,。這幅照片或掛在餐廳,、教室的墻上，或印在T恤衫和手提包上,，隨處可見(jiàn),。每當(dāng)人們看見(jiàn)這幅圖就冒出一連串的疑問(wèn)。照片中央,，尼納利·艾倫·克雷格獨(dú)行于一票意大利男人中間,，形容落落，那些男人色迷迷地看著她，其中一個(gè)甚至手摸襠部,，人們甚至能聽(tīng)到他們戲虐的喊叫,。女孩不會(huì)害怕嗎？她肯定感到不安了吧,？只見(jiàn)圖中她眼睛直盯著地面,，緊緊抓住她的披肩，顯然她確實(shí)又害怕又不安,。

Then she would laugh her boisterous full laugh and say, not at all. On the contrary, she was imagining she was Dante’s Beatrice. She had studied the “Divine Comedy” with Robert Fitzgerald at Sarah Lawrence in New York, and had fallen in love with that notion of unattainable beauty. Her dollar-a-night hotel was on the Arno, and she had a corny postcard of a Victorian painting by Henry Holiday that showed Beatrice walking by the river, in shining white, ignoring the stricken Dante, who pressed his pounding heart at the sight of her. Who knew whether her very own Dante might not be standing on some corner, while she swept luminously by?

而克雷格看到照片中的自己則會(huì)哈哈大笑,，說(shuō)自己并沒(méi)有感到害怕。相反,，她自比為是但丁的貝雅特麗齊（Dante’s Beatrice）,。她曾在紐約的薩拉勞倫斯學(xué)院（Sarah Lawrence）跟著羅伯特·杰茨菲拉德（Robert Fitzgerald ）學(xué)習(xí)《神曲》，深深地被其中可望不可及的美感所吸引,。她住在意大利中部阿爾諾河畔的一家賓館里,，住宿費(fèi)一美元一晚。她有一張發(fā)舊的明信片,，印著亨利·霍利迪（Henry Holiday ）的一幅維多利亞時(shí)期的畫(huà)作,，圖上的貝雅特麗齊在河邊散步，白衣飄飄,，不遠(yuǎn)處的但丁一看到她,，就被她的貌美所征住，怦然心動(dòng),，手不自覺(jué)地捂在了胸口,。而這一切，貝雅特麗齊卻全然不知,，誰(shuí)會(huì)想到此刻但丁正站在旁邊一角注視著悠然漫步的她呢,？

Besides, even when she was not Beatrice, she was a New York girl having a wonderful time. When she left college she didn’t know where her place in the world was, so the answer seemed to be to explore it. Her mother, who had travelled young to Sicily, encouraged her to tour Europe until the money ran out. So she sailed third-class with a cardboard suitcase, going to France and round Spain on buses, ending up in Italy to look at art and to paint.

再說(shuō)了，在她成為但丁的貝雅特麗齊之前,，就已經(jīng)是個(gè)懂得享受人生的紐約女孩了,。那時(shí)，她剛剛離開(kāi)大學(xué),，不知道自己的未來(lái)在哪,，老天似乎告訴她未來(lái)需要不斷探索。她媽媽年輕時(shí)曾到過(guò)西西里島旅行,，此時(shí)便鼓勵(lì)她不妨去歐洲轉(zhuǎn)轉(zhuǎn),，直到散盡積蓄。于是,，她提著一個(gè)薄紙板旅行箱,，坐著三等船艙游遍了法國(guó)，坐公交環(huán)游了西班牙，最后又去了意大利觀賞那兒的藝術(shù)品并嘗試自己作畫(huà),。

At 23, she was quite alone. That was rare for a woman, and intoxicating. Europe was open and empty of tourists, recovering from the war. Almost no papers were needed. In that spirit of adventure she revived her childhood nickname, “Jinx”, which sounded larky and exciting. No one kept tabs on her. She could call at the American Express office to check letters, but there was no need to communicate with home. And just as well, because when her father saw The Photograph, blown up big one day in Grand Central, he was horrified that she had been walking round Italy in that way. The world was hers to conquer.

在23歲如花似玉的年紀(jì),，她卻孑然一身,。這對(duì)于一個(gè)女人來(lái)說(shuō),，很少見(jiàn)，卻讓她很興奮,。當(dāng)時(shí)的歐洲十分開(kāi)放,，鮮有游客，正從戰(zhàn)爭(zhēng)中復(fù)蘇,。幾乎不需要任何證件,。憑著冒險(xiǎn)精神，她開(kāi)始使用小時(shí)候的外號(hào)“Jinx”,。這名字盡管逗趣,，卻又能給人留下深刻的印象。沒(méi)有任何人管束她,。她可以打電話(huà)給美國(guó)快遞公司檢查有無(wú)來(lái)自美國(guó)的信件,，但當(dāng)時(shí)沒(méi)有任何和家里聯(lián)系的必要。因此,，當(dāng)她的父親在中央車(chē)站看到放大了的那張照片時(shí),，簡(jiǎn)直嚇壞了，他不敢相信自己的女兒就那樣在意大利閑逛,。那時(shí),，整個(gè)世界等著她去征服。

When she met Ruth, who was doing the same and taking pictures as she went, they agreed to do a photo essay together, a spoof on the perils of girls travelling alone. It was August, the hottest day of the year. In full Jinx mode, she put on her New Look long skirt, a wide belt and an orange Mexican shawl. Her purse was a horse-feed bag which she had picked up in Spain. As they walked through the city she asked the way from a policeman, bargained for straw bags in a market, visited the Amex office. Much of what she did was flirty. She chatted to a young man in a café while putting on her violent red lipstick. Guide book in hand, she gawked at a statue of two naked wrestlers and sat, with a bored look, in front of a statue of Pan with his usual erection. Ignoring him.

她偶遇露絲的時(shí)候,，露絲像她一樣也在窮游,，獨(dú)自一人，邊走邊拍,。她們一拍即合,，決定拍一組攝影專(zhuān)題，對(duì)那些女孩獨(dú)自旅行可能遭遇的“危險(xiǎn)”惡搞一下,。照片拍攝于8月份,，也是那年最炎熱的一天。那天,，金克絲（Jinx）心情飛揚(yáng),，穿上了嶄新的長(zhǎng)裙，扎著寬寬的腰帶,，披一條墨西哥風(fēng)的橘紅色披肩,，胳膊上挎著她在西班牙淘到的喂馬包。她們?cè)诔抢锏拇蠼中∠镏写┬校蚓靻?wèn)路,，在市場(chǎng)里跟賣(mài)帽子小販討價(jià)還價(jià),，造訪運(yùn)通卡（Amex）辦事處。她做得最多的還是賣(mài)弄風(fēng)情,，在咖啡館里,，一面跟小伙兒聊天，一面抹著鮮紅色的口紅,。她呆愣愣地瞪著裸體摔跤手摔跤的雕像,，手里握著本觀光指南；又坐在照例一柱擎天的潘神雕像前,，一臉厭倦的表情,。她對(duì)潘神完全熟視無(wú)睹。

In most of these pictures men were staring at her. At six feet tall, beautiful, foreign and walking alone, she was clearly an object of curiosity. And so she was when they turned at 10.30 into the Piazza della Repubblica, where there was a sea of men, and Ruth told her to walk through. She did so twice. Two shots, 35 seconds. After that, she climbed onto the back seat of the Lambretta whose rider had drawn up to admire her, and went for a ride.

這組專(zhuān)題中大部分照片上的男人都在盯著她看,。身高6英尺（182cm）,，明艷照人，充滿(mǎn)異域風(fēng)情又獨(dú)自旅行,，這樣的她,，無(wú)疑引起了人們極大的好奇。就這樣,，那天上午10點(diǎn)半,，她們來(lái)到了共和廣場(chǎng)（Piazza della Repubblica），街邊閑漢聚集,，人山人海, 露絲叫她從那群男人中穿過(guò)時(shí),，她就是那個(gè)樣子。她來(lái)回走了兩次,。露絲在35秒里拍了兩張,。拍完之后，她就爬上一輛摩托車(chē)的后座,，迷戀她的車(chē)手帶著她去兜風(fēng)了,。

Nothing was posed, she insisted. The men were just there, hanging round the Caffè Gilli because they had no jobs. She was furious when the Metropolitan Museum of Art, in an exhibition, described it as “staged”. Her second walk had increased the reaction, but that did not make it inauthentic. It was the real McCoy.

她堅(jiān)稱(chēng)從未擺拍過(guò)。那幫閑漢就在Caffè Gilli周?chē)e逛,，因?yàn)樗麄儧](méi)有工作,。大都會(huì)美術(shù)館在一個(gè)展覽中將她的作品形容為“上演”時(shí)，她怒了,。 她的第二次拍攝確實(shí)增強(qiáng)了反應(yīng),，但這并不影響作品的真實(shí)性，絕對(duì)童叟無(wú)欺,。

This was not, however, the ground on which she had to defend the picture for the rest of her life. As she moved through two marriages, and from America to Italy to Canada, where she settled in Toronto, it was the sexual message that bothered people. In 1952, when it first appeared in Cosmopolitan magazine with a piece advising single women that “ogling  the ladies is a popular, harmless and flattering pastime...in many foreign countries”, the crotch-grabber was cropped out . Time-Life books airbrushed his hand out in 1961. She couldn’t think why. She was used to Italian men doing it, almost as a good-luck sign; a sort of reassurance, that the family jewels were intact.  As if she cared.

然而,，“擺拍與否”并不構(gòu)成她必須余生捍衛(wèi)這幅作品的理由,。她經(jīng)歷了兩次婚姻，從美國(guó)到意大利到加拿大,，最終定居于多倫多,。一路走來(lái)，那副作品中的性暗示才是困擾著人們的源頭,。1952年,，當(dāng)作品首次出現(xiàn)在Cosmopolitan雜志上時(shí)，掏褲襠的那個(gè)男人完全被P掉了,。作品旁還附著一篇建議單身女性的文章,，文中稱(chēng)：“在許多國(guó)家，勾搭是一種流行的,，無(wú)害的，奉承的消遣活動(dòng)”,。 1961年,，“Time-Life”的書(shū)里，有人重新給掏褲襠的那個(gè)男人畫(huà)了一只手,。她感到莫名其妙,，她習(xí)慣了意大利男人這樣的做法，他們認(rèn)為“掏褲襠”表示好運(yùn),，也被男人用來(lái)表明自己那話(huà)兒完好無(wú)損,，強(qiáng)健有力。雖然她自己壓根兒都不在乎,。

When the censoring ended, feminist commentary began. Time after time the Photograph was used for stories of women’s harassment and victimhood. #MeToo made it worse. Though she supported the movement and thought it was a wake-up call, as ardent in her late 80s as she would have been in her Jinx years, it also made many more people see something sinister and awful in that image of her younger self. In 2017 she was heartbroken to hear that a restaurateur in Philadelphia had taken the picture down after two dozen customers complained.

當(dāng)作品中的“掏襠男人”不再被刪除時(shí),，女權(quán)主義的評(píng)論就開(kāi)始了。一次又一次,，這張照片被用來(lái)講述女性被騷擾和受害的故事,。“ MeToo運(yùn)動(dòng)”讓事情變得更糟,。盡管八十歲高齡的她仍像年輕時(shí)一樣充滿(mǎn)激情,，支持這一運(yùn)動(dòng)，并認(rèn)為這是一記警鐘,。但這也讓更多的人看到了她年輕時(shí)那張照片里的邪惡和可怕的東西,。在2017年，當(dāng)有24名顧客投訴后,，費(fèi)城的一位餐館老板把照片換了下來(lái),，她非常傷心。

How to persuade them that she had not been scared, that she felt thrilled and strong? In the first contact print, she looked frightened. Ruth told her to walk the second time “as if it’s killing you, but you’re going to make it”. She explained that her shawl had been her shield, sheathing her body, and that the last thing she wanted to do was to look the men in the eye and smile. Yet the more other, younger women called this harassment, the louder she denied it. When a man whistled at you, or called out “Che bella!”, you were appreciated. You walked taller. In that moment, you owned the street. She still kept the bag and shawl from that day, as well as the postcard in which Dante stood, staring, in Beatrice’s path. How could Beatrice ever be vulnerable?

如何說(shuō)服他們,，她當(dāng)時(shí)沒(méi)有感到害怕,，而是十分興奮和堅(jiān)強(qiáng),。在最初的照片中，她看起來(lái)很害怕,。露絲告訴她再拍一遍時(shí),，要表現(xiàn)得“生活好像要?dú)⒘四悖銦o(wú)所畏懼,?！笨死赘窠忉屨f(shuō)，她的披肩就是盾牌,，把身體裹起來(lái),，她堅(jiān)決不想看著那些男人的眼睛并微笑。然而,，越多的年輕女性稱(chēng)這是種騷擾,，她否認(rèn)的聲音就越大。當(dāng)一個(gè)男人向你吹口哨,，或者叫“Che bella(意大利語(yǔ),，美妞)”時(shí), 那是一種欣賞。你要昂首挺胸得走,，那一刻,，你擁有整條街。她仍然保留著那天用到的包和披肩,，還有那張但丁站在那里凝視著比阿特麗斯路的明信片,。比阿特麗斯從不脆弱，難道不是嗎,？

注：

1.Dante’s Beatrice

貝雅特麗齊是《神曲》中的重要出場(chǎng)人物之一,，甚至可以說(shuō)但丁是為了貝雅特麗齊而寫(xiě)的神曲，在但丁的一生中,，她有著十分重要的意義,。傳說(shuō)在但丁九歲的時(shí)候，見(jiàn)到一位小姑娘,。小姑娘的名字就叫貝雅特麗齊,。他第一次見(jiàn)到貝雅特麗齊，心中就油然地萌發(fā)出一種異樣的情感,，一種愛(ài)慕之情,。后來(lái)，但丁在他的詩(shī)集《新生》中曾描寫(xiě)他九歲時(shí)見(jiàn)到貝雅特麗齊時(shí)的感情：“這個(gè)時(shí)候,，藏在生命中最深處的生命之精靈,，開(kāi)始激烈地顫動(dòng)起來(lái)，就連很微弱的脈搏里也感覺(jué)了震動(dòng),?！?然而詩(shī)人對(duì)這位女子的愛(ài)并非是世俗的愛(ài),，而是一種純粹的精神上的，就像基督徒對(duì)圣母的虔誠(chéng)的愛(ài)一樣,。八年以后,，但丁又一次在佛羅倫薩街頭（具體說(shuō)是在阿爾諾河的一座橋邊）見(jiàn)到了貝雅特麗齊。他的心再次劇烈地跳動(dòng),，感情再次受到猛烈地沖擊,。但丁第二次見(jiàn)到貝雅特麗齊時(shí)。她穿著淺色的長(zhǎng)裙,，深褐色的襯衣,，手上拿著一枝美麗的玫瑰花。但丁驚呆了,，不知怎樣開(kāi)口,，她給他留下了一種震撼心靈的印象?！渡袂分胁粩嗵岬降倪@位圣女,，她曾經(jīng)是但丁的戀人。但丁對(duì)她的愛(ài)是一種精神上的愛(ài)情,。

2. spoof |spu:f| (N-COUNT)

（關(guān)于嚴(yán)肅事件的）玩笑，諷刺性文章(或電視節(jié)目等) A spoof is something such as an article or television programme that seems to be about a serious matter but is actually a joke. 栗子：a spoof on Hollywood life. 那好萊塢生活開(kāi)玩笑的作品,。摘自《柯林斯高階英漢雙解學(xué)習(xí)詞典》

3.Amex

運(yùn)通卡 AmericanExpress 的英文縮寫(xiě)

4.Pan

潘神,，是希臘神話(huà)里的牧神，牧神潘是眾神傳信者赫密斯的兒子,，而名字的原意是一切,。掌管樹(shù)林、田地和羊群的神,，有人的軀干和頭,，山羊的腿、角和耳朵,。他的外表后來(lái)成了中世紀(jì)歐洲惡魔的原形,。潘神喜歡吹排笛，因?yàn)榕诺涯艽呙?。潘神性好色,，?jīng)常藏匿在樹(shù)叢之中，等待美女經(jīng)過(guò),，然后上前求愛(ài),。摘自百度百科（看過(guò)一部電影叫《潘神的迷宮》有點(diǎn)黑色童話(huà)的趕腳）

5. 衍生閱讀，知乎上有一篇介紹露絲,、妮娜利照片專(zhuān)題的文章,，可以作這篇文章的注解用,。https://zhuanlan.zhihu.com/p/26029672

6. Real McCoy

McCoy 在俚語(yǔ)里是真貨的意思。Real McCoy 是個(gè)片語(yǔ),。此片語(yǔ)指稱(chēng)的是美國(guó)拳王Kid McCoy(真實(shí)的名字是Norman Selby).  據(jù)說(shuō)某一天在酒吧里,，有個(gè)家伙吹噓說(shuō)他可以打敗拳王Mccoy，不巧,，McCoy  正好在場(chǎng),，他走過(guò)去三下兩下就把那個(gè)家伙打倒了，等到這個(gè)倒霉的家伙清醒后,，趕緊求饒說(shuō)：“好了,！，你的確是勇猛的McCoy,". 由于McCoy是風(fēng)靡一時(shí)的拳王,，自然也有其它關(guān)于這個(gè)片語(yǔ)的不同說(shuō)法,。例如有些不知名的拳擊手為吸引觀眾，到小鎮(zhèn)巡回比賽時(shí)都會(huì)撒謊說(shuō)自己是McCoy,結(jié)果到處都是 Kid McCoy 的分身,。最后他本人只好昭告天下他的真實(shí)姓名是Kid the real Mccoy!!. 因此,，當(dāng)我們要強(qiáng)調(diào)“如假包換的真貨”時(shí)就會(huì)說(shuō)起real McCoy

7．Metropolitan Museum of Art

大都會(huì)藝術(shù)博物館是美國(guó)最大的藝術(shù)博物館，也是世界著名博物館

翻譯組：

Li Xia, 女,， HR, 經(jīng)濟(jì)學(xué)人發(fā)燒友

Cece,，女，消防工作者,，CATTI三筆

Samantha,，女，滑冰狂人,，鄧倫未婚妻

Amber,，女，文學(xué)研究生,，經(jīng)濟(jì)學(xué)人愛(ài)好者

校核組：

Yao,男,，英專(zhuān)本科生，北大苗子

Dave,，大學(xué)老師,，二級(jí)口譯筆譯，科幻文學(xué)譯者