Vertigo - The Rise and Fall of Weimar Germany. Chapter 9: Between Woman and Man, Gender Doubts
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第九章“女人与男人之间：性别疑虑”探讨了魏玛共和国（1919-1933）时期德国性别角色、外貌和身份发生的剧烈转变。那个时代以社会和政治动荡、经济不稳定以及蓬勃发展的现代感为特征，这些深刻地影响了传统的男性和女性观念。
本章首先强调，许多同时代观察家认为，女性地位的改变甚至比第一次世界大战更具破坏性。女性经历了显著的转变，这不仅体现在时尚上，也体现在她们的行为、言语和思想上。束腰和受约束的身材被拥有更自由、更健美的身体和更短发型的女性所取代。这种被称为“半男孩”的审美象征着传统性别界限的模糊。
另一方面，男性似乎难以适应这种变化的环境。虽然有些人以窥视的狂热欢迎女性角色的改变，但另一些人，特别是保守派，则认为失去传统的女性服装和行为是一种不稳定的力量。与此同时，男性身体的理想也在演变，倾向于纤细、健美的体格，而不是过去更为强壮的体格。胡须变得不再流行，男性美容产品大量涌现。
雌雄同体的兴起成为魏玛时代的一个突出特征。“性别之间的地带”曾经只属于亚文化，现在在公共生活中变得越来越明显，其中居住着那些故意挑战传统性别规范的个体。服装和发型，特别是“波波头”和“伊顿短发”，成为这种转变的政治化象征。波波头最初被视为一个笑话，但被许多女性接受，作为个性、自我赋权和智力自由的标志。相反，它被右翼团体谴责为犹太或不道德的时尚。
本章强调，性别角色的变化不仅仅局限于表面的时尚潮流。女性以更大的数量进入劳动力市场，追求高等教育，并要求在个人生活中拥有更大的自主权。这种新获得的独立性，既得益于经济的需要，也得益于社会态度的转变，挑战了将女性主要视为妻子和母亲的传统期望。拼凑式自传的概念，即个人改变职业和关系，变得更加普遍，从而实现了更多的自我实现。
然而，这些变化也引发了焦虑和不安，尤其是在男性中。本章列举了一些男性作家，他们表达了对强大、不可预测的女性的恐惧，将她们描绘成使男性丧失男子气概的怪物形象。右翼思想家将魏玛共和国本身视为“女性化”，并试图恢复传统的性别角色，经常将共和国与软弱和军事失败联系起来。
尽管存在这些焦虑，本章强调了日常生活中男性和女性之间日益密切的关系。他们比以往任何时候都更自由地一起工作、一起学习和一起社交。这导致了两性关系中出现了一种新的“冷静”，一种对友谊和相互尊重的关注，而不是纯粹的浪漫或性追求。
最后，本章探讨了通过摄影对魏玛社会的视觉表现。虽然时尚杂志经常描绘理想化的青春和美丽形象，但像奥古斯特·桑德这样的纪实摄影师试图捕捉德国人口的多样性和现实。桑德的肖像，以广泛的社会阶层和职业为特色，揭示了传统的持续存在以及对现代性的拥抱。本章最后指出，魏玛共和国在其极端和矛盾之处，与当今关于性别、身份和社会变革的辩论仍然具有非凡的关联性。
Chapter 9, "Between Woman and Man: Gender Doubts," examines the radical shifts in gender roles, appearances, and identities that occurred in Germany during the Weimar Republic (1919-1933). The era was characterized by social and political upheaval, economic instability, and a burgeoning sense of modernity, which profoundly impacted traditional notions of masculinity and femininity.
The chapter begins by highlighting the perception of many contemporary observers that the changing status of women was more disruptive than even World War I. Women underwent a visible transformation, reflected not only in fashion but also in their behavior, speech, and thought. Corseted and constrained figures were replaced by women with freer, more athletic bodies and shorter hairstyles. This "half-boy" aesthetic, as it was termed, symbolized a blurring of traditional gender lines.
Men, on the other hand, seemed to struggle to adapt to this shifting landscape. While some welcomed the changing roles of women with voyeuristic enthusiasm, others, particularly conservatives, viewed the loss of traditional feminine attire and behaviors as a destabilizing force. Simultaneously, the ideal of the male body also evolved, favoring slender, athletic physiques over the more robust forms of the past. Beards became unfashionable, and grooming products for men proliferated.
The rise of androgyny became a prominent feature of the Weimar era. The "zone between the sexes," once relegated to subcultures, became increasingly visible in public life, populated by individuals who deliberately challenged traditional gender norms. Clothing and hairstyles, particularly the "bob" and the "Eton cut," became politicized symbols of this shift. The bob, initially seen as a joke, was embraced by many women as a sign of individuality, self-empowerment, and intellectual freedom. Conversely, it was condemned by right-wing groups as a Jewish or immoral fashion.
The chapter emphasizes that changes in gender roles extended beyond superficial fashion trends. Women entered the workforce in greater numbers, pursued higher education, and demanded greater autonomy in their personal lives. This newfound independence, facilitated by both economic necessity and shifting social attitudes, challenged traditional expectations of women as primarily wives and mothers. The idea of patchwork biographies, where individuals changed careers and relationships, became more common, allowing for more self-realization.
However, these changes also sparked anxieties and insecurities, particularly among men. The chapter presents examples of male authors who expressed fears of powerful, unpredictable women, portraying them as monstrous figures who emasculated men. Right-wing thinkers viewed the Weimar Republic itself as "effeminate" and sought to restore traditional gender roles, often associating the Republic with weakness and military defeat.
Despite these anxieties, the chapter highlights the increasing closeness between men and women in everyday life. They worked together, studied together, and socialized together more freely than in the past. This led to a new "sobriety" in relations between the sexes, a focus on companionship and mutual respect rather than purely romantic or sexual pursuits.
Finally, the chapter explores the visual representation of Weimar society through photography. While fashion magazines often portrayed idealized images of youth and beauty, documentary photographers like August Zunder sought to capture the diversity and reality of the German population. Zunder's portraits, featuring a wide range of social classes and professions, revealed the persistence of tradition alongside the embrace of modernity. The chapter concludes by noting that the Weimar Republic, in its extremes and contradictions, remains remarkably relevant to contemporary debates about gender, identity, and social change.
中英文字稿 
第九章：在女性与男性之间的性别疑惑
什么可以被描述为男性，什么可以被描述为女性？对此我们几乎无话可说。性别可能并不是一个固定的存在，而是像其他一切一样，通过演变而不断变化的东西。然而，我们往往容易将其绝对化。
托尔达·维查特，1931年
▶ 英文原文 ⏱
Chapter 9 Between Woman and Man. Gender Doubts What may be described as male, what as female? We can say nothing or little about it. It is probably not a fixed quantity, but something transformed by evolution exactly like everything else that we easily turn into something absolute. Torda Vichat, 1931
时尚的瘦弱半男孩
在20世纪初期，有什么能够比得上第一次世界大战的激烈战斗更具冲击性呢？事实上，有的，那就是女性地位的改变。至少，这正是著名作家斯特凡·斯派克的看法。斯派克坚信，未来的文化史中，对欧洲女性的全面评价和转变将比战争更具破坏性。他确信女性已经发生了根本性的变化，并且整个国家也随之改变，这种转变比建筑、交通、技术甚至政治上的所有变化都更为深刻。
▶ 英文原文 ⏱
The Fashionable Skinny Half-Boy In the early years of the 20th century, could there have been anything more drastic than the pitched battles of the First World War? Yes, in fact. The change in the status of women. That, at least, was the view of Stefan Spike, one of the best-known authors of his film. Spike was quite certain that a future cultural history of this complete evaluation and transformation of European women would ultimately be more disruptive than the war. He was convinced that women had radically changed and the rest of the country with them and that this shift ran deeper than all the changes in architecture, traffic, technology or even politics.
在1905年至1925年这段时间，不仅女性的外表发生了巨大变化，她们的行为、言谈和思想也变得与以往不同。那么男性呢？他们似乎保持了差不多的状态。至少在他们自己看来是这样的，因为大多数男性天性务实惯了，较少反思自己。然而，许多男性也感受到自己正站在巨大变革的边缘，而女性是这个变革的中心。根据他们不同的性格和政治观点，他们对女性解放的看法各异，包括担忧、焦虑、同情、默许、欣喜或厌恶。对四十九岁的斯特凡·斯派克来说，纯粹的欣喜占据了主导。
▶ 英文原文 ⏱
Not only had women's appearance undergone a radical change between 1905 and 1925, their behaviour, their speech and their thought had changed as well. And what about men? They seemed to have stayed more or less the same. At least, that was how it seemed to mend themselves since most of them, pragmatic by nature and habit, thought comparatively little about themselves. However, many men shared the feeling of standing on the edge of a great upheaval, with women at its centre. According to their characters and political viewpoints, they viewed the emancipation of women with concern, anxiety, pity, acquiescence, joy or loathing. In the forty-nine-year-old Stefan Spike, pure joy predominated.
他想起年轻时女性的外表，心中隐隐不安。但现在，他欣慰地看到她们在街上自然地向他走来。那些穿着紧身胸衣的女人，全身裹在层层布料中，被裙子和衬裙束缚着，显得四肢无力，腰部人为地细得像黄蜂一样，举止一切都显得不自然。可是，昨日的那些历史上的女性，仅仅一代人的时间，就变成了现代的女性。如今，她们的身材明亮、开放，轻盈的连衣裙如波浪般流畅地贴身而过。
▶ 英文原文 ⏱
He remembered with disquiet the visual appearance of women in his youth and was gladdened by the natural way in which they now came towards him in the street. Those corseted creatures, wrapped to the throat in folded fabric, constrained in skirts and petticoats, legless, artificially wasp-wasted, artificial in all directions and in every movement. That historical woman from only the day before yesterday has within only a generation become the woman of today. With her bright, open body, a light dress flows, flowing clearly over it like a wave.
这位女士，请不要惊慌，她像过去只能出现在不应提及的Mezon地方的女士一样，对风、空气和男人的目光持开放态度。这些是我们今天对一个满怀欢愉的老嬉皮士会说的话。他对女性解放的看法主要是因偷窥欲望和寻求性冒险的希望而产生的。以对色情痴迷而闻名的斯派克的快乐体现出一种矛盾情感，即许多男性曾热情赞美的女性解放。这样的热情现在我们当然可以视为值得怀疑的。
▶ 英文原文 ⏱
This woman who, please do not be alarmed, is open to the wind and the air and to the eyes of men as was once only true of ladies who should really go unmentioned in Mezon. These are the words we would say today of a gleeful old head-anist. His views on women's emancipation prompted chiefly by voyeuristic desire and the hope of sexual adventure. The pleasure of Spike, known for his erotic obsessions, reveals the ambivalences of an emancipation that many men applauded with enthusiasm. Enthusiasm that we can of course now see as suspect.
如今，女性穿着半裸的事实不断被提及，这迎合了他们的淫荡目光。然而，年长且更保守的男性则认为这种新时尚意味着他们理解中的女性气质的丧失——女性应该既隐藏又突出她们的形象。在他们看来，女性的身体线条如今像男性一样直截了当地展示出来，虽然不再有宽松、裙撑或紧身束缚的设计，但这似乎是对自然性别秩序的颠倒。改变的不仅是女性身体的审美，男性的审美也在经历着同样的变化。
▶ 英文原文 ⏱
The fact that women now came towards them half-naked as was repeatedly stated, satisfied their lascivious glances. Men of an older and more conservative stripe, on the other hand, saw the new fashion as meaning a loss of what they understood as femininity, something in fact that should both be hidden and emphasised. In their eyes, the fact that women's bodies were now as straightforwardly delineated as men's that nothing was billowed, roost, upholstered or tightly laced, seemed like an inversion of the natural order of the sexes. It was not only the ideal of the female body that was changing, the same was true of the male.
男性的身体被期望经过训练，显得苗条，并且能够自我防卫，同时也要光滑。胡须突然显得过时，只适合那些已经踏入老年的人，比如总统兴登堡，他留着浓密的胡子。现代男性则是不留胡须，或者像布劳瑙的希特勒士官那样将胡须修剪得整齐，他把上唇的胡须修剪成一个方形，这样他就找到了在传统和现代之间的中间立场。传统主义者认为年轻人过分追求苗条和光滑是一种短暂的趋势。杂志上充斥着男性护理产品，甚至被人引以为豪的大肚子也成了尴尬的来源。
▶ 英文原文 ⏱
The male body was supposed to be trained, slender and able to defend itself, but also smooth. Beards suddenly looked old-fashioned, only suited to old men who still had one foot in the kaiserai, such as President Hindenburg with his bushy mustache. The modern man was beardless or at best neatly clipped like Corporal Hitler from Brounau, who had managed to trim the growth on his upper lip into a square shape, thus finding a middle position between kaiserai and the modern age. Traditionalists saw younger men as ephemerising in their exalted urge to achieve slender lines and smoothness. The magazines were full of grooming products for men and even the en-bon poua, the term proudly used for prominent bellies, had become a cause for embarrassment.
它被用紧身束腹带束缚平整，这种束腹带可以通过邮购的方式隐秘订购，这在传统观念的男性中是不可想象的。曾经，柔美的曲线是女性理想的象征，但现在，棱角分明才是准则。时尚杂志中的人物变得高挑光滑。丰满的胸部和纤细的腰肢不再流行，流畅的长发被替换为光滑、短小的发型，通常微微露出紧贴的帽子。没有了华丽的帽子和卷曲的装饰性头发，脸部更多地暴露出来，显露出自信且不屑的神情。
▶ 英文原文 ⏱
It was kept flat with a tight belly band which could be ordered discreetly by post, unthinkable for men of the old school. Softness had become distasteful, where rounded curves had previously been the ideal of womanhood, edges and angles were now the rule. Figures in fashion magazines grew gone to tall and smooth. Brests and wastes had gone, flowing locks had made way for smooth, short styles, often protruding very slightly from tightly fitting caps. The absence of extravagant hats and decorative wavy hair exposed more of the face, leaving room for pert and disdainful expressions.
这导致了一种傲慢的外表出现，因为女性穿得越少，她就越需要用面部表情作为“盔甲”。根据罗伯特·穆齐尔的说法，女性的面部表情变得更加中性，表现出英勇和不屈的特点，还有些男孩子气、友好、运动似的坚韧与童真。在这段时期初期，紧身裙一直延伸到脚踝，但是随着20世纪20年代的发展，裙子变得越来越短，以适应当时的运动需求和快节奏的生活。网球运动员保拉·冯·雷斯尼克曾写道，裙子不应夸张，也不要过于隆重，而是要适合现代女性快步走动的节奏。它们应该配合女性时速80公里的速度，以及她那男孩子气的面容。作家和女权主义者伊尔-泽莱克认为运动服装是身体从被束缚的传统时尚中解放出来的一种方式，这种时尚是对身体行为的不自然约束。
▶ 英文原文 ⏱
This led to the appearance of a certain haughtiness, because the less clothing a woman wore, the more she had to armour herself with the cast of her face. Women's facial expressions now became in a way more manly, with heroic and defiant features in Robert Musil's words, boyish, comradly, athletically brittle and childlike. While initially during this period tight-fitting dresses reached to the ankles, in the course of the 1920s, skirts became increasingly short, in line with the requirements of athleticism and pace. Skirts must be not exaggerated, not overdone, but suitable for the rapid steps of the contemporary woman, wrote the tennis player Paola von Resnichik. They should be suited to her 80-kilometre an hour speed, her boyish face. The author and feminist Il-Zeräike saw athletic clothing as a liberation of the body from the restricted motion imposed on it by titivated, straight-laced fashion or a philistinism that is quite alien to the body.
在通货膨胀时期，傲慢、魅惑如吸血鬼般的生物曾主导时尚设计，但很快就让位给一种无拘无束的运动之乐。然而，在整个十年中，女性时尚理想中的中性风格得以保存并巩固。1931年，作家El-Zerämeräyäbüt谈到流行的瘦小半男孩形象。用理发剪进行的政治操作——波波头（Bob）。如果在此之前，性别之间的地带大多是一个只有在特殊情况下和亚文化圈中探索的禁区，现在它成了一个公共空间，充斥着那些故意模棱两可、不愿完全认同为女性或男性的存在。在魏玛共和国，对于肢体问题极为敏感的社会中，服装和发型的改变不仅仅是随着心情起落而来的时尚表现。
▶ 英文原文 ⏱
The arrogant, vamp-like creature that dominated fashion designs during the inflationary period soon made way for a carefree delight in motion. But what remained and consolidated itself throughout the decade was the androgyny of the female fashion ideal. In 1931, the author El-Zerämeräyäbüt spoke of the fashionable skinny half-boy. Politics with hair scissors, the Bob. If the zone between the sexes had until now largely been a no-man's land explored only in exceptional situations and in subcultural niches, it now became a public space, populated by deliberately dubious ambiguous beings who had no wish to identify fully as either female or male. In the Weimar Republic, over-sensitive as it was to issues of the body, changes in clothing and hairstyles were more than mere manifestations of fashion that came and went as the mood took them.
女性的理想外形逐渐与男性的轮廓相一致，这种趋势反映了当时正在动荡中的政治和社会生活。中性风潮也是这场革命的一部分，因此充满了政治色彩。一篇《柏林日报》的文章对此进行了激烈批评，反对女性的男性化。文章指出，鲍勃头发型长期以来就是一个笑话。而现在，甚至连男孩般的卷发发型也开始消失，许多女性选择了更具男子气概的Eaton剪发，头发被紧紧往后梳，是时候站出来反对这种从美国传来的极端时尚了。这种风潮对于喜欢健康审美观的男性来说，非常令人厌恶，因为如果一个女人看起来像一个阴柔的男孩，这是令人反感的。
▶ 英文原文 ⏱
The ideal appearance of women visually assimilating to the silhouette of men was reflected in other processes that were shaking political and social life. Androgyny was part of that revolution and accordingly, highly politicised. That's enough now, the Berlinite-Lustriätte-Saitung rage in an article against the masculinisation of women. The Bob had long been seen as a joke, the article argued. But now that even the curls of the page-boy cut were disappearing and many women were opting for the masculine Eaton cut, with their hair-brushed firmly backwards, it was time for healthy male taste to turn against such foul fashions whose excesses had been transplanted from America. It was repellent for any proper man if a woman looked like an effeminate boy.
这段文字描述了20世纪初对“波波头”发型的偏见和争议。极右翼的反犹主义组织“民众妇女联盟”曾在1924年声称，波波头适合妓女或女狱卒，只配于放肆的犹太人面孔，并认为辫子是雅利安人的象征，而波波头则是犹太人的标志。这种观点很荒谬，因为短发同样受到犹太保守派的反对。直到1928年，科隆一家犹太医院的两名护士因为剪了波波头而被解雇。在许多家庭，尤其在乡村地区，剪掉长发被视为政治声明，女孩因此可能遭受羞辱和责骂，有时甚至被殴打。尽管波波头在城市中很快成为常见发型，它仍被视为个性化的标志，仿佛配套的钟形小帽一样，能更清晰地展现脸部线条，突出鼻子的轮廓。
▶ 英文原文 ⏱
The Bob was seen as a look suited to prostitutes or prison waters, only fitting for an impudent Jewish face according to the far-right anti-Semitic Fokish Afroenbund, Fokish Women's League, founded in 1924. The braid is Aryan, the Bob is Jewish, this organisation insisted, a ridiculous opinion given that short hair was equally disapproved of by Jewish conservatives. As late as 1928, two nurses in Cologne's Jewish hospital were dismissed for having their hair bobbed. Cutting off long hair was a political statement that girls in many families, particularly in the countryside, paid for with shame and insults, sometimes even with beatings. The Bob, even though it was soon standard in the cities, was seen as a badge of individuality, like the accompanying cloche hat, it revealed the lines of the face more clearly and emphasised the nose.
时尚记者斯蒂凡·伊卡瓦指出，今天的衣服和帽子似乎只能由这个特定的女人穿，就像是专为她设计的一样。发型的政治化体现在佩戴男孩式短发时人们的自豪感，这种发型象征着向世界展示自己的额头，展示个性和智慧。她在时尚杂志《迪达玛》中对此感到欣喜，并解释了“波波头”的真正含义。这是一种自我赋权，是民主的发型。随着衣着风格的变化，自信心也会改变。正如俗语所说，衣服塑造人，因为它给了人们一种体现内在自我的外在形象。
▶ 英文原文 ⏱
Clothes and hats today looked as if they could be worn only by this particular woman, as if they had been designed for her alone, noted the fashion journalist, Stefan Ikawa. The politicisation of hairstyles was expressed in the proud sense that with the page boy cut, one offered one's forehead to the world, one showed character and intelligence. The forehead really seems to be the seat of thoughts that can be worn freely and openly, she rejoiced in the fashion journal Didama, at the same time setting out what the Bob really meant. It was a self-empowerment, the hairstyle of democracy. Self-confidence did change with styles in clothing. Clothes did make the person as the proverb has it, by giving people a particular outward facing sense of themselves that reflected the one within.
一种特定的态度通过时尚表现出来，同时也被时尚所定义。面料和精神在一种动态的、互相作用的关系中交织在一起。年轻女性的风格因此发生了变化。这种新的自信常被视作无礼。带有嘲讽意味的、坚定自信的新态度，最重要的是，更多地强调了一个问题：我真正想要的生活是什么？ "Bob"头发型的一个激进变化是刚才提到的“极短发”——真实的男孩风格，头发被极力向后梳理，后颈刮得光光的，或者梳成严谨的分缝。极短发没有任何戏谑意味，没有那些挑逗般的卷发，比如美国电影女演员路易丝·布鲁克斯在《潘多拉的魔盒》中所戴的那些时尚卷发。
▶ 英文原文 ⏱
A certain attitude was expressed through fashion, but it was also defined by it. Fabric and spirit engaged in a dynamic, reciprocal relationship. The tone of young women changed accordingly. The new lack of self-consciousness was often perceived as impertinence. A mocking note, a confident stubbornness, a new matter of factness, but above all, a new emphasis on the question, what do I really want from life? The radical variation of the Bob was the eaten cut just mentioned. A real boy's hairstyle brushed fiercely back with a shaved nape or a severe parting. There was nothing teasing about the eaten cut, no kiss curls, those provocatively styled locks that pointed forward at chic level, as worn by the American film actress Louise Brooks, Pandora's Box.
当然，“吃掉的发型”在一些女同性恋女性中很受欢迎，她们用这种发型来表达自己的性取向。但它在异性恋女性中也很流行，因为她们被打破传统性别符号以及探索自我身份的想法所吸引。现代时代的实验室工作人员在自身上做实验。“吃掉的发型”，也被称为“绅士发型”，在摄影师如Eva或Marianne Breslauer拍摄的令人惊叹的美丽照片中得以呈现，照片中严肃的女性面孔抓住了那个时代的神经。在她的回忆录中，Marianne Breslauer后来写道，她在与她的中性风最爱模特Anna Marie Schwadzenbach相遇时便立即爱上了。对Breslauer来说，Schwadzenbach是来自Irika和Klaus Mann圈子的富裕实业家的女儿，是我见过的最美丽的生物。Anna Marie是一个让人无法分辨她是男性还是女性的人。在我看来，她就像伫立在天堂之门的天使加百列。
▶ 英文原文 ⏱
Of course, the eaten cut was popular with some lesbian women who used it to announce their sexual orientation, but it was also fashionable among heterosexual women, charmed by the idea of playing with traditional sexual insignias and experimenting with their identity. Laboratory workers of the modern age experimenting on themselves. The eaten cut, also known as the gentleman's cut, captured in breathtakingly beautiful images by photographers such as Eva or Marianne Breslauer captured severe women's faces that caught the nerve of the time. In her memoirs, Marianne Breslauer later wrote that she fell instantly at the site of her androgynous favourite model, Anna Marie Schwadzenbach. For Breslauer, Schwadzenbach, a wealthy industrialist's daughter from the circle around Irika and Klaus Mann was the most beautiful creature I have ever met. Anna Marie was a person of whom it was impossible to tell whether she was a man or a woman. She looked to me like the archangel Gabriel standing by the gates of paradise.
年轻时，诗人彼得·胡尔（Peter Hoor）写了一首热情洋溢的诗歌，歌颂一种新兴的中性生物——"Deek Nabin"，即“男孩女孩”，这个称谓在诗中展现了将这一现象以诗歌总结的挑战，同时避免落入过时的腔调。彼得·胡尔后来成为了东德杂志《Zinn und Farm》（意为形式中的意义）的编辑。1930年，作家埃米尔·卢卡（Emile Luka）正确地指出，女性正变得更像男孩而非男人，尽管她们有时不止于此。一些特别张扬的女性也借用了成熟男性的象征，如高顶礼帽、手杖，甚至是单片眼镜。她们喜欢穿男式衬衫和宽松裤子，用炭笔在上唇画上精致的细小胡须。对男性身份最具挑衅性的攻击可能是对单片眼镜的讽刺性挪用。19世纪末，单片眼镜已成为上层阶级，尤其是官员中的身份象征，被视作一种特别男性气概的标志。
▶ 英文原文 ⏱
As a young man, the poet Peter Hoor who would later become the editor of Zinn und Farm, meaning in form in the GDR, wrote an enthusiastic hymn of praise to the new androgynous creature, Deek Nabin, the boyess, which revealed some difficulties in summing up the phenomenon in verse while steering clear of old-fashioned notes. In 1930, the author Emile Luka rightly observed that women were becoming more similar not to men but to boys, although they didn't always stop there. Some particularly extravagant women also borrowed the symbols of mature men, the top hat, the walking stick, and finally the monocle. They liked wearing men's shirts and baggy trousers and gave themselves delicate fluffy mustaches on their upper lips with coal pencils. The most provocative attack on male identity was probably the ironic appropriation of the monocle. Towards the end of the 19th century, the eyeglass had become a status symbol of the upper classes, of offices above all. It was considered a sign of a special kind of masculinity.
单片眼镜只有在佩戴者用面部肌肉固定时才能保持原位。男人在佩戴时，面部会显得有些扭曲，肩膀也会不由自主地绷紧。眼神清澈的约瑟夫·罗特发现单片眼镜之所以适合紧张和神经质的人，是因为它能起到情感上的制约作用。单片眼镜提醒人们避免情绪化的反应，比如突然大笑，因为这样眼镜很容易掉到地上。佩戴者因此不得不保持僵硬的身体姿势，并习惯于对突发事件和事物尽量慢速反应。罗特观察后指出，这就是为什么这些人的面容显得如此空洞而高贵内敛。有些男性视单片眼镜为神圣。在他的小说《半途》中，埃德温·埃里希丁格幻想了一个对这一脆弱男性象征的可怕女权主义攻击。
▶ 英文原文 ⏱
The monocle only stayed in place if the man held it there with his facial muscles. He would then strut around with one half of his face distorted and with his shoulder tensed. It was the clear-eyed Josef Rort who discovered why the monocle suited clenched and neurotic men so well. It acted as an emotional break. The monocle served as a reminder to avoid spontaneous reactions, sudden laughter for example, would unfailingly make the glass fall to the floor. The wearer was condemned to a stiff body posture and became accustomed to reacting as slowly as possible to spontaneous things and events. That is the reason why his face is so empty and so nobly discreet Rort observed. Some men considered the monocle sacred. In his novel Half Way, Edvin Erichdinger fantasizes a hideous feminist attack on this fragile symbol of masculinity.
他讲述了他的英雄——弗雷科普志愿战士特罗斯伯爵是如何在1919年革命动荡期间落入无产阶级斯巴达派部队之手并遭受严重虐待的。一位年轻的女工对这位贵族施以最残酷的折磨。在经历各种酷刑后，她用枪射中了他的腹部。他感到肚子深处就像是被刀割一样。最后，这名女子将他射杀。然后，这具尸体被亵渎。这个女人跳到他的脸上，用她粗糙的鞋跟不断地将他的单片眼镜——这个被诅咒的象征碾进他的眼睛。你不需要是心理学家也能看出，这些可怕的暴力幻想是一个惊慌失措的不安全感的男人对共和国中女性更强势地位的原始阉割焦虑的反应。
▶ 英文原文 ⏱
He relates how his hero, the Frécops volunteer fighter Ritmaster Count Tros, falls into the hands of a proletarian Spartacist troop during revolutionary unrest in 1919 and is grossly abused. A young female factory worker subjects the aristocrat the worst of torments. After all kinds of torture, she shoots him in the belly. Deep in his abdomen, he felt as if he was being sliced with knives. Finally, the woman shoots him dead. Then the corpse is desecrated. The woman jumped onto his face, grinding his monocle, that a cursed symbol over and over again into his eyes with the heels of her rough shoes. You don't need to be a psychologist to recognize these grotesque fantasies of violence as primitive castration anxieties with which a panicking insecure man reacted to the stronger position of women in the Republic.
一对好奇的情侣出现在《Bellina Lusrieta Tcyton》1927年11月的头版上。画面中的一男一女穿着优雅的西装，各自佩戴领带、口袋手巾和烟嘴。女子的短发比男子的分得更利落。唯一让她与男伴区分开来的，只有她的裙子和鞋子，但她那严肃的脸上还戴着单片眼镜。在他们身后，有一对小声耳语的人，报纸上写道："你怎么看弗劳莱恩·米尔？"读者被挑战要给出一个回答，要求他们以聪明且贴切的方式来完成这个讽刺。面对这个优雅又瘦削的男女米尔，柏林的读者以著名的幽默给出了回应。有人说：“那个女孩看起来像个男孩，而他看起来像个女孩。”另一个开玩笑道，“现在连性别都混合了。”还有人认为上帝在创造两性时还不够完善，并说：“当上帝看到他们两个时，会笑着说，‘我那时候造了三个吗？’是的，显然。”
▶ 英文原文 ⏱
A curious couple were shown strolling on the front page of the Bellina Lusrieta Tcyton in November 1927. A man and a woman in elegant suits, each with tie, pocket handkerchief and cigarette holder, the woman's short hair parted even more severely than the man's. The only things that distinguish the woman from her companion are her skirt and shoes, but she also wears a monocle in her severe face. Behind them is a pair of people whispering, whom the newspaper has saying, What do you make of Fraulein Mier? The reader was challenged to give an answer. They were to complete the caricature with as witty and appropriate a retort as possible. They reached with notorious Berlin wit to the elegant stick-thin man-woman Mier. That girl looks like a man and he looks like a girl. Another jokes, now they fused the sexes on top of everything. A third thinks that God hadn't quite finished when he made the two sexes and says, When God sees these two, he laughs, Did I make three back then? Yes, clearly.
"米尔小姐证明了人类只有两种性别的想法往往并不完整，人们对此其实心知肚明。性学家马格努斯·赫希费尔德曾在1904年出版过一本名为《柏林的第三性》的书，这本书就像一本关于柏林酷儿场所的指南。关于LGBT+的性别辩论绝非21世纪初才有的事情，早在一百年前就有了大量的铺垫。甚至在1920年代，性别二元化的观念已经存在。1928年，作者弗朗茨·布莱欢迎两性二元性爱的即将结束，这种观念给男女双方都带来了巨大的压力。作家埃米尔·卢卡相信，这种性别模式将摆脱极化结构，导致新的混乱。"
▶ 英文原文 ⏱
Fraulein Mier proved that the idea that the human beings only came in two sexes often didn't tell the whole story and that people were well aware of this. Berlin's third sex was the title of a book by the sexologist Magnus Hirschfeld, which was originally published in 1904 and which read like a guidebook to the queer places of Berlin. The gender debates about LGBT+, are by no means an original development of the early 21st century. They had a massive prelude a hundred years ago. Even the idea of gender polarity was already current in the 1920s. In 1928, the author Franz Blay welcomed the coming end of a bipolar erotica, which placed a terrible burden on both men and women. The writer Emile Luka was convinced that the gender model was due to break away from polar organization and led to a new confusion.
这个想法虽然可能没有被明确表达出来，但可以理解为性别的模糊。我注意到，连面容都正在失去清晰的性别特点，形成了一种介于男性和女性之间的中性色彩。玛格努斯·赫希菲尔德尝试将男人和女人之间的一系列中间状态进行分类。他在柏林优雅的蒂尔加滕区的研究所成为了柏林知识界和整个柏林，即国际同性恋社群中心的热门沙龙。英国的音乐评论家和作家爱德华·萨克维尔-韦斯特热情地写信给E.M.福斯特。他们那里甚至有为“反转者”开设的大型舞蹈空间，有些人身材魁梧但胸部像女人，面容则像奥特拉琳·莫里尔，那位古怪的英国贵族。他们打扮成西班牙舞者的样子，确实让人看不懂。
▶ 英文原文 ⏱
The idea is, although this is perhaps unspoken, sexlessness, and I think I have noticed that even faces are losing their focus and that an intermediate cast of face is forming, not quite male and not quite female. Magnus Hirschfeld tried to classify a whole palette of intermediate steps between man and woman. His institute in the elegant Tiagarten district became a much-visited salon of the Berlin intellectual world and the whole of Berlin, the epicenter of the international gay scene. The British music critic and author Edward Sackville West wrote enthusiastically to EM Forster. There are even large dance spaces for inverts and some of the people one sees huge men with breasts like women and faces like Otterline, Morrill, the eccentric British aristocrat. Dressed as female Spanish dancers are really quite unintelligible.
他的英国作家同事，如W. H. 奥顿、斯蒂芬·斯彭德和克里斯托弗·伊舍伍德，也都是同性恋者，他们让世界认识了柏林的酷儿文化，并在今天的城市中仍然留下了一种神话。当时城市里大约有100个供男同性恋者的场所和约30个供女同性恋者的场所。但并不是所有这些场所都是专属的。更典型的是，有些同性恋酒吧也受到异性恋者的欢迎，成为社交场合的综合性聚会地点，比如位于施维林大街的Topkela。而且值得注意的是，许多异性恋的男女也积极支持加强同性恋者的权利。
▶ 英文原文 ⏱
His British author colleagues, W. H. Orton, Stephen Spender and Christopher Isherwood, who were also gay, made queer Berlin known around the world and created a myth that still lingers in the city today. There were about 100 venues for gay men in the city and about 30 for lesbian women. Not all were exclusive. What was much more typical of the mood in the city was that some gay bars were also frequented by straight people and served as general meeting places for the social scene, such as Topkela in Schwerinstrasse. And it was notable that many straight men and women campaigned for a strengthening of the rights of gay people.
在日常生活中，德意志共和国时期的男女之间比帝国时期更为亲密。这不仅体现在多元的性别认同上，也在日常的琐碎中显现出来。男女一起在办公室工作，在大学课堂上同坐，在舞厅和海滩上自然而然地相处。周末，他们还会和一大群朋友一起到乡间郊游。这种氛围在当时其实是不太寻常的。在世纪之交的德国，让男孩和女孩在没有监管的情况下结伴徒步旅行是难以想象的，而在许多青年团体中，却已经成为惯例。
▶ 英文原文 ⏱
It was not only in the wealth of sexual identities, but also in normal everyday life, that the men and women of the Republic came closer together than had been customary in Imperial Germany. They worked in the same offices, they shared benches at universities, and sat unself-consciously together in dance halls and at the beach. At the weekend they went on outings into the country together, in big groups of friends. This was less normal than it sounds. Even in Germany around the turn of the century, it would have been unthinkable for girls and boys to go hiking together unsupervised, as was the custom among many Vunderfugel bodies.
这种更密切的共存使得性别之间的关系变得相对陌生且理智。当男女在日常生活中无法再互相回避时，新的交往方式便随之产生。男性和女性共同生活变得相当自然。作家弗朗茨·布莱认为这种变化是一种巨大的解放，是一种从无法再忍受的虚假性别压力中解放出来的自由。年轻男性意识到在生活中还有比频繁为爱情冲动更重要的事情，而年轻女性也认识到，比让自己变得有吸引力更有价值的事情。首先，他们想要再次为了自身的缘故而存在于这个世界上。
▶ 英文原文 ⏱
This closer coexistence produced a largely unfamiliar sobriety in relations between the sexes. Where men and women were no longer able to avoid one another in everyday life, new ways of mingling developed. It had to become quite natural for men and women to live side by side. The author Franz Bly felt that this was a great liberation. Freedom from that sexual overstress whose falsity no one could endure any longer. Young men recognized that they were more important things than constantly falling head over heels in love, girls that they were more valuable things than making oneself desirable. First they wanted once again to exist in the world for their own sake.
埃米尔·卢卡也感受到年轻一代对两性对立的强烈抵制。他们并不热衷于被迫进入传统上所要求的情感专一之中。特别是在冯德尔弗格尔（Vunderfugel）运动中，卢卡看到古典的爱情理想被一种温柔的友伴关系所取代。这一代人的情感被称为“Amitye Amoruz”，也就是“爱情中的友谊”。取代原始力量般的爱情，他们进入了一种精神和智力世界，拥有无数微妙的情感变化，在友谊和情感依恋之间摇摆不定。在他们看来，朋友和女朋友之间不应该有区别。
▶ 英文原文 ⏱
Emile Luka also sensed a strong resistance to the polarity of the sexes in the younger generation. They weren't keen on the idea of being forced into the emotional exclusivity that love had traditionally called for. In particular it was in the Vunderfugel movement that Luka saw the classical ideal of love being replaced by a kind of tender comradeship. This generation's eroticism is called Amitye Amoruz, Amorous Friendship. In place of love as a primal force they had access to a hundred shades and sub shades of a spiritual and intellectual world of the emotions that oscillated between camaraderie and erotic attachment. There should be no difference between friend and girlfriend.
渴望的是一种亲密且具有灵性关系，这种关系通常是可以实现的。理想的状态是，也许这是未被明说的无性别化。在这个中性化的背景下，各种同性和异性的吸引力都是可能的。而且根据卢卡的说法，在男孩气的女性的时尚理想中，男人们并不是渴望自己的同类，而是渴望一个更加温柔、更加迷人的小弟弟，也就是自身的更佳版本。强大的女性，不安的男性。在这种不确定的情感环境中，女性更容易满足她们对独立的需求。当然，每个时代都有强大且自主的女性，但至少在社会的进步部分，这几乎成了常态。
▶ 英文原文 ⏱
The aspiration is towards a close and very spiritual relationship which is often achieved. The ideal is, although this is a perhaps unspoken sexlessness. Against this unisex backdrop erotic attractions of all kinds were possible, both gay and straight. And according to Luka in the fashion ideal of the boyish woman, men were not yearning for their own kind but for a more delicate, more charming younger brother, a better version of themselves. Strong Women, insecure men. In this uncertain emotional terrain it was easier for women to satisfy their need for independence. There have been strong autonomous women in every era of course, but now at least in the progressive part of society it almost became the norm.
1925年，女权运动者伊尔斯·赖克发表了《年轻女孩——一种生活方式的设计》，这本书鼓励读者找到自己的生活道路。该指南更侧重于负责任的女性公民，而非未来的母亲和贤惠的妻子，比如建议她们尽早开始读报，对任何事情形成自己的看法。封面上是一个瘦长的女孩的面孔，高高的额头引人注目，头部以经典的思考者姿势被食指和拇指支撑，严肃而坚定地注视着观者。这幅画是27岁的插画师丽莎·洛塔·弗里德兰德的自画像，展示了一位年轻女性为生活的变化做好了充分准备。这个女孩会警觉地走过人生，不会把裙子猎人当成英雄，也不会把夸夸其谈者视作智力巨人。
▶ 英文原文 ⏱
The year 1925 saw the publication of Das Jung-Amatian, The Young Girl, a design for living by the women's rights activist Ilse Reike, which encouraged her readers to find their own way in life. This guide was aimed less at future mothers and caring wives than at responsible female citizens who were urged, for example, to start reading newspapers at a younger age and to form opinions about everything. The cover showed a narrow girl's face with a strikingly high forehead, the head supported between index finger and thumb in classic thinker pose, looking the viewer seriously and resolutely in the eye. The image, a self-portrait by the 27-year-old illustrator, Lisa Lotta Friedlander showed a young woman as well equipped for the vicissitudes of life as it was possible to be. This girl would stride alertly through life and neither mistake a skirt chaser for a hero nor a loudmouth for an intellectual giant.
女性独立的理想能够兴盛，正是因为经济对这样的女性有迫切需求。她们需要接受教育，或者至少会打字，具备批判性和务实的思维，勤奋并富有野心。尽管工资可能很低，却足以让这些女性从家庭的束缚中解放出来。战后，女性不再仅仅只关注照顾他人，追求自我实现的生活方式变得不再罕见。这些女性的职业生涯不再被严格地设定。战争和通货膨胀动摇了现有的社会关系。动荡与新的机会并存。任何获得良好教育并具备一定程度知识独立的人，都会把生活视为一次冒险，充满可能性，需要紧紧抓住。
▶ 英文原文 ⏱
The ideal of female independence could only flourish because such women were urgently needed by the economy. They needed to be educated or at least able to type, critical and pragmatic, hardworking and ambitious. The wages might have been small, but they allowed these women to free themselves from their families. After the war, it was no longer rare for women to take an approach to life that involved self-realization and not just caring for others. These women's careers were no longer rigidly set out for them. Existing social relations had been shaken up by war and inflation. Disruption and new opportunities went hand in hand. Anyone who had achieved a good education and had any degree of intellectual independence could see life as an adventure whose possibilities had to be grabbed with both hands.
这样的职业生涯很少见且极具挑战性，但相比以往墨守成规的道路，如今女性也有更多的自由去选择这些职业。她们在职业不再让自己感到有成就感时，就会中断事业；在婚姻变得不再满意时，就会选择结束婚姻；在居住的地方变得过于沉闷和束缚时，就会搬家。根据理论家乌尔里希·贝克的观点，"拼凑式"的人生经历是后现代主义的一个现象，而这一现象在经济困境之外的魏玛共和国时期就已经有了先例。1923年，一位前科学公司高级员工在给她的通信伙伴的信中谈到了她的职业生涯发展。
▶ 英文原文 ⏱
Such careers were rare and far from easy, but the freedom to leave what had once been a well-worn path was now also more available to women. They interrupted their careers when they no longer felt fulfilled in them. They ended marriages that had become unsatisfactory. They moved house when their place of residence became too stale and constricting. The patchwork biography according to the theorist Ulrich Beck, a phenomenon of postmodernism, had its predecessors in the Weimar Republic and not only as a result of economic hardship. In 1923, one former senior employee of a scientific company wrote to her correspondent about the course of her career.
当我不再觉得从事科学服务的工作令人满意时，我选择在提贡兹住了一年，与一位朋友同住，并辅导她的孩子。当依赖一位富豪的经济支持开始让我感到不安时，我成为了一名见习陶工，之后晋升为技工，并在乡村陶器厂担任负责人，住在木屋里，享受健康的山间空气。如今已过了一年，我在一家相当大的陶器工厂担任艺术总监，体验到了各种幸福和成功。这段经历充满了曲折变化，强调以乐趣为决策标准，并优先选择创造性的艺术工艺而非学术职业，展现出一种现代的生活轨迹，非常符合当今时代的特点。
▶ 英文原文 ⏱
When I no longer found my work in the service of science satisfying, I chose to spend a year in Tigunzi, staying with a friend whose children I tutored. When being dependent on a millionaire's wallet began to create, I became an apprentice potter, then journeywoman and director in a rural pottery, lived in a log cabin and enjoyed the healthy mountain air. For a year now, I have been employed as artistic director of quite a large meolica factory and enjoying every kind of happiness and success. This progression, with its many twists and turns, its emphasis on the pleasure principle as a decision-making criterion and preference for creative artistic craft over the academic profession is an entirely modern biography that would not be out of place in the present day.
一位年轻女性在1930年写给心理治疗师的信，更像是1970年代的风格。她坚决要求一种性自由，这让她的未婚夫感到担忧。她说：“他的嫉妒让我愤怒，他的道德指责让我恼火，不过这些真的应该被一笑置之。他看到我没有跟他一起去跳舞时就不高兴。我读了很多书，但这无法充实一整天，所以最后只能出去散步、结识新朋友、经历一些冒险。我肯定不是个坏人，但我也想从生活中得到一些东西。我无法忍受未婚夫不理解我。有时候我觉得我们应该分开。他应该给我自由，走他自己的路，但随后我又感到难过，因为他的本意是好的，如果他能更慷慨一些，我们会是很适合的一对。”
▶ 英文原文 ⏱
A letter that a young woman wrote to a psychotherapist in 1930 has more of a 1970s ring to it. She insisted on a sexual freedom that worried her fiancé. His jealousy makes me furious and his moral reproach is annoy me, even though they should really be laughed at. He is unhappy when I go dancing without him. I read a lot, but that doesn't fill the day, so one ends up going for walks, making acquaintances and having adventures. I am certainly not a bad person, but I also want to get something out of life. I can't bear the fact that my fiancé doesn't understand me. Sometimes I think we should part company. He should give me my freedom and go his own way, but then I feel sorry because he means very well, and if he were a bit more generous, we would be a good match for each other.
虽然这个例子可能不具代表性，但它表明了情色冒险不再是男性的专属领域。20世纪20年代的文学作品中充满了掌控自己性生活的女性角色。她们不再需要像弗兰克·魏德坎德的戏剧《地球精神》（1895年）和《潘多拉的盒子》（1904年）中的卢卢那样，成为狂野而悲剧性过度本能的生物，而可以像1933年马克斯·摩尔的精彩小说《不悔改的女人》中逃离富有丈夫的莉娜·格达那样，是脚踏实地、充满活力的女性。她们也可能像1930年由RØud Lansof Yock撰写的德国流行文学的早期作品《德勒安的艾娜》中的乐观健谈记者路易斯·卢，或者是威廉·施佩尔1931年小说《我出去，你留下》中期望男友给予她无限自决权的模特加比那样。
▶ 英文原文 ⏱
The example may not be representative, but it shows that erotic buccaneering was no longer exclusively a masculine preserve. The literature of the 1920s was full of women taking charge of their sex lives. They no longer needed to be wild and tragically excessive instinctive creatures, like Lulu in Frank Védécans play Earth Spirit 1895 and Pandora's Box 1904, but could be quite undramatic down-to-earth, spirited women like Lina Gada in the wonderful 1933 novel Frau Unroyer, the unrepented woman by Max Moore, who flees her wealthy husband. It could be a cheerfully chatty reporter called Louis Lou in De Feline on de Aina, The Many and the One, 1930. By RØud Lansof Yock, one of the first examples of German pop literature, or the model Gabi in the novel Ischky Aus und Dublijbstar, I Go Out and You Stay Here, 1931, by Wilhelm Schpär, who brightly expects her boyfriend to grant her unlimited self-determination.
这些标题本身就已经很有启示性了。这些轻小说不回避女性在坚持独立时偶尔会遇到的孤独和绝望时刻。然而，它们所表现出的乐观精神，无疑让那些缺乏安全感的男性读者感到自己仿佛站在历史的下风。记者阿克塞尔·埃格布雷希特抱怨道，男性对女性的不安几乎让人无法忍受。如今，人们在与女性开始对话时，根本不知道会有什么样的预期。每一次调情都像是一场自杀性的任务，结果难以预料，因为所谓的解放让女性变得不可捉摸。即便是思想进步的作家，也因为女性自信心的增强而感到焦虑。
▶ 英文原文 ⏱
The titles alone are telling enough. These are light novels that don't skirt around the moments of loneliness and despair that these women can sometimes experience when they insist on their independence. But their good-humoured affirmation of life doubtless gave insecure male readers the feeling of standing down wind from history. Men's insecurity with regard to women has become practically unbearable, the journalist Axel Egebrecht complained. No one these days had any idea what one might expect when one began a conversation with a woman. Every flirtation was like a suicide mission with an unforeseeable outcome because so-called emancipation had made women unpredictable. Greater self-confidence among women prompted anxieties even among progressive-minded authors.
在伊雷奇·克斯特纳1931年的小说《法比安》中，我们可以找到一些最奇妙的恐惧。小说的主角法比安的女友离开了他，因为她想与一位制片人建立更有利可图的关系，以促进她的电影事业。法比安受到的打击已经够重了，但他接下来还遇到了更加可怕的女性。这些女性像吃糖果一样轻松地玩弄年轻男子，小说中指责地描述了这一点。其中包括伊莉娜·莫尔，她的丈夫是一位律师，他支付大量金钱让其他男人与他的妻子发生关系。随后，她会对这些男人进行极其屈辱的折磨，而她的丈夫则在一旁观看。当然，法比安也是这些受害者之一。
▶ 英文原文 ⏱
The most wonderful phobias are found in Irech Kestner's novel Fabian from 1931. The titular hero's girlfriend leaves him because she wants to enter a more profitable relationship with a producer, one which will benefit her film career. That may seem tough enough, but poor Fabian goes on to find himself in the clutches of ever more monstrous women, women who snack on little young men as if from a bag of bonbons, as the book accusingly puts it. Women like Irina Moll, whose husband, a lawyer, pays men large sums of money to sleep with his wife. She then humiliates them horrifically and he is allowed to watch. Of course, Fabian is one of them.
在去莫尔公寓的出租车上，他差点被侵犯，关上门后情况也没好转。伊琳娜·莫尔说：“小男孩来了屠宰场”，然后把这个脆弱而忧郁的年轻人推倒在地。最后，经历了一段在柏林堕落世界的漫长历险，其中像“男爵”罗特雷特这样的强势女性将一切掌控得紧紧的，法比安决定离开柏林，前往捷克边境的高山地区，心中怀揣一个特别的希望。也许在那里，他能变得像个真正的男人。在那里，乡村还有希望。伊琳娜·莫尔的离奇噩梦般的幻想，反映出一种不安，这种不安会在男性读者中引起共鸣。
▶ 英文原文 ⏱
On the taxi ride to the Moll apartment he is almost raped and matters continue in a similar vein once the door closes behind him. So now the little boy comes to the slaughter, Irina Moll says, and hurls the delicate melancholy young man to the floor. In the end after an odyssey through the gomora of Berlin, where imperious women like Rortreiter, known as the baron, keep things under tight control, Fabian decides to leave Berlin for the all-mountains on the Czech border, with one particular hope in mind. Perhaps up there he might become something like a man. Up there in the provinces there was still hope. Irina Moll's grotesque nightmarish fantasies testify to an insecurity that would have found appreciative resonance among male readers.
更坚定的角色拒绝接受不安定的局面，而是带着挑衅的姿态呼吁结束魏玛民主。对于右翼思想家来说，魏玛共和国是软弱的。作家弗里德里希·格奥尔格-尤格尔直言，国家（德语中为阳性名词）是有男性特质的，他暗示这个所谓的女性化的共和国几乎不是一个真正的国家，而是一个需要尽快克服的异常变种。1930年，国务顾问格奥尔格-弗里茨在一篇文章中写道，共和国内暂时占主导地位的女性颓废文化，是因为纯粹男性和纯粹女性特质被压制，导致一种普遍的不真实文化得以盛行。
▶ 英文原文 ⏱
More determined characters refuse to settle for insecurity and instead saber-rattlingly called for an end to Weimar democracy. For right-wing thinkers the Weimar Republic was effeminate. The state, Deschtart, is male in gender, the writer Friedrich Georg-Yungar stated flatly, implying that the supposedly feminine republic, dire public, was not a state but rather an anomalous mutation that needed to be overcome as quickly as possible. In 1930 the Privy councillor Georg-Fritz wrote in an essay that the temporary predominance of female degeneracy in the republic had only been made possible by the suppression of purely masculine and purely feminine natures in favour of a ubiquitous culture of inauthenticity.
这是对自然的侮辱，无法长久持续。男性领导者的能量，一场动魄惊魂的事件，能够且将会将其摧毁。在反动派的漫画中，共和国常被描绘成一个女人，一个吞噬自己儿子的肥胖主妇。我们不仅被解除武装，还被削弱男性气概，德意志国防联盟——一个右翼民族主义协会，早在1918年就提出这样的抱怨。在右翼思想中，共和国始终无法摆脱被削弱男性气概的污名。军事失败与妇女平等权利的引入同时发生，这一直被视为绝非巧合。凡尔赛的污名必须在各个方面被清除。
▶ 英文原文 ⏱
It is an insult to nature and cannot last. A male leader's energy, a soul-shaking event, can and will bring it down. In reactionary caricatures the republic was often represented as a woman, a plump matron devouring her sons. Not only are we disarmed, we are unmanned, the Deutsche Wehrfein German Defence Union, a right-wing nationalist association, complained as early as 1918. In right-wing thinking the republic would never shed the stigma of emasculation. The fact that military defeat coincided with the introduction of equal rights for women was always seen as more than a coincidence. The stigma of Versailles had to be expunged on all fronts.
事实上，不是革命，而是战争为解放提供了动力。由于丈夫们在战场上作战，许多女性分担了男性的工作，并认识到城市即使没有男性也能运转。那么，凭什么她们不能享有平等的权利呢？作者阿诺德·布劳嫩，一位曾经的反传统者，以及阿尔丰特·里布——随着时间的推移，他的立场从左翼转向极右翼——将战争视为解放的原因之一，但赋予了这一联系一个独特的观点。在他的文章《女性战争一代》中，他声称战争对男女都产生了持久的影响，但尤其使女性偏离了她们的本性。
▶ 英文原文 ⏱
In fact, it was not revolution but the war that had provided the impulse for emancipation. Divided from their husbands who were fighting in the battlefields, many women had taken over men's work and learned that a city could be run even without men. On what grounds then could they be denied equal rights? The author Arnold Braunen, a former iconoclast and Alfonte Rib, who had over time moved from the left to the far right, saw the war as one of the causes of emancipation, but gave the connection a characteristic twist. In his essay, The Female War Generation, he claimed that the war had a lasting impact not only on men but above all on women, alienating them from their true nature.
他认为，虽然男人在战争中找到了新的意义，但这却剥夺了六百万女性赖以保持平衡的纽带，即她们与心爱伴侣的关系。男人在与敌人对抗中找到了新的平衡，而女性的世界却变得摇摇欲坠。在Braunen看来，这带来了灾难性的后果：女性变得放荡、不敬、难以捉摸和疯狂，成了像Kestner笔下Fabian所不得不忍受的那些贪欲的形象，让人鄙视。例如，美国无声电影女演员芭芭拉·拉马尔或柏林裸舞舞者安妮塔·贝尔伯，这些女性为了药物和娱乐艺术牺牲了自己的美丽。
▶ 英文原文 ⏱
While men had found a new meaning in war, he argued, it had deprived six million women of the bond on which their balance depended, the one with their beloved partner. Men found a new balance in the enemy, while the world of women had taken an unsteady turn. With catastrophic results, in fact, in Braunen's eyes, women had become lecherous, impertinent, unpredictable and insane, lustful figures of the kind that Kestner's Fabian had been forced to endure, contemptible creatures such as the American silent film actress Barbara Lamar or the Berlin Naked dancer Anita Berber, who had sacrificed her beauty on the altar of drugs and the art of entertainment.
他们在各方面都抛弃了自己的生命，在各方面也都失去了自己的生命。这些女人的生活是最悲惨的，也是最淫秽的。那些努力工作、追求自己的收入并使自己有用的女人要好得多。Braunen接着说，这也是好的一面，因为男人有更有趣的事情要做，而不是关注日常琐事。在所有自然和稳定的时代，男人总是有比获取每日面包更重要的事情要操心，比如投身于战争、哲学和艺术。但是女性得到了解放，她们照顾田地，经营纺织厂，她们就是经济。如果我们考虑到那些被从男人那里剥夺走的工作，最终解放并没有那么糟糕。完美的奴役。他，Braunen，至少够男人也够无赖，竟然称这种情况几乎是理想的。
▶ 英文原文 ⏱
They threw their lives away in every sense and they lost them in every sense. There is nothing more wretched than the lives of these women, and nothing more salacious. Greatly preferable were the hard-working women who aspire to their own income and made themselves useful to achieve it. There was a good side to that, Braunen went on, because men had more interesting things to do than attend to mundane tasks. In all natural and stabilized times, men had had more important concerns than the mere acquisition of daily bread, by which he meant devoting themselves to war, philosophy and art. But women were emancipated, they took care of the fields, they ran textile mills, they were the economy. If we bear in mind the work that had been taken from men, emancipation wasn't so bad in the end. Perfected slavery. He, Braunen, was at least man and rogue enough to declare this situation almost ideal.
世界对男人有更大的期望，这些任务需要再次以更严肃、更深刻的态度来对待。在这样的轻蔑之下，布劳能（Braunen）与他的妻子分开似乎并不困难。他的男性朋友对他来说比任何事情都重要。后来，他甚至自愿与约瑟夫·戈培尔（Joseph Goebbels）分享了他的新娘奥尔加。从魏玛共和国的面相、彪形大汉、天使、性格研究到弱智人群。从1920年代留在集体记忆中的大量图像来看，那十年一定充满了热衷于展示自己美丽的纤细年轻人。
▶ 英文原文 ⏱
The world had bigger plans for men, the tasks were once more, have to be addressed once more with greater seriousness, with more acute severity. Given such disparagement, it must have been easy for Braunen to part company with his wife. His male friends were more important to him than anything. He later voluntarily shared his new bride Olga with Joseph Goebbels. Bull necks, archangels, character studies and p-brains, on the physiognomy of the Weimar Republic. Judging by the stock of images from the 1920s that have lodged in the collective memory, the decade must have been populated by willowy young people who enthusiastically put their beauty on display.
《Revutus Mornatz》、《Das Magatzin》、《Uhu》、《Tempo》、《Dinoy Elinier》、《Diderma》和《Dec Farshnet》这些杂志期刊一期接一期地展示着那些在聚光灯下刻画得如古典英雄般完美的身体，无论是穿着泳装还是夏装。仿佛每个性别都羡慕对方的魅力，彼此在努力争取完美。如果这个世界即将被大火吞噬，只要看起来足够好看，又有什么关系呢？至少，那些关于在火山边缘跳舞的故事是这样暗示的。其实，他们的现实与此大相径庭。多数主流媒体呈现的时代形象与大多数人的现实生活几乎没有关联。
▶ 英文原文 ⏱
The Revutus Mornatz, Das Magatzin, Uhu, Tempo, Dinoy Elinier, Diderma, Dec Farshnet, in issue after issue all of these magazines showed pictures of perfect bodies chiseled like classical heroes by the harsh shadows thrown by spotlights in swimming costumes or summer dresses. It was as if each sex envied the attractions of the other, as if they were vying with one another in an urge to achieve perfection. If the world was about to go up in flames, what did it matter as long as one looked good? Or at least, that's what the stories about dancing on the edge of the volcano suggest. Their reality looked very different. The image of the age presented by most of the leading media had little to do with most people's reality.
在这个国家，除了那些追求时尚潮流的人之外，大多数人对时尚界的指示并不感冒，除了波波头发型，它已经传遍了乡间的最偏远角落，激起了女孩们的叛逆。然而，男性基本上对时尚要求保持抵抗态度。很多人似乎甚至反其道而行之，以强调他们的不修边幅和粗犷丑陋来与众不同。美国作家托马斯·沃尔夫热爱德国，尽管他对德国的热情因为看到许多粗脖子和肥胖的人而有所减弱。在他的旅行文章中，他常常将这些剪短后颈发的胖子称为“匈奴”，这个绰号在第一次世界大战期间变得流行。
▶ 英文原文 ⏱
Outside of the country's fashionable, people were remarkably unimpressed by the dictates of the fashion world, apart from the bob hairstyle which had reached the remotest corners of the provinces, where it incited girls to rebel. Men, however, remained largely resistant to the demands made on them by fashion. Many of them even seemed to oppose the spirit of the age and distinguish themselves by emphasising their uncouth ugliness. The American author Thomas Wolf loved Germany, although his passionate devotion was mitigated by the many bull-necked and obese people that he saw there. In his travel articles, he often calls the stout figures with the shaved napes Huns, a nickname that had become popular during the First World War.
1926年至1936年间，他访问了这个国家六次。每次他都对那些厚厚的皱纹和肥胖的脖子感到沮丧，这些生动展现出来的特征令他震惊又着迷。他经常在日记中记录这些印象。他对这些特征印象深刻：年轻绅士脸上有决斗留下的伤疤，年长者则剃着圆球形脑袋，小眼睛如小猪般，在衬衫领子后面露出三层赘肉。那些"匈奴人"（在此指代德国人）确实把自己的外表缺陷展露无遗。他们显然认为不在乎外表是一种特权，也是他们在一个对成功而言讲究时尚外观的共和国中，体现其智力自治的可见标志。
▶ 英文原文 ⏱
He visited the country six times between 1926 and 1936, and each time he was depressed by the many thick creases and fleshy necks that shocked and fascinated him with their rawness carelessly on show. He often recorded them in his diaries. He was so struck by them that young gentlemen with dueling scars on their faces and older ones with shaved spherical heads, little piggy eyes and three bulges above their shirt collars at the back. The Huns really did put their ugliness on display. They clearly considered it a privilege not to pay any attention to their appearance, as a visible badge of their intellectual autonomy within a republic in which a stylish appearance was supposedly part of the recipe for success.
没有他们，这些肥胖的人物后来成为了纳粹的刻板形象，充分体现了与那些来自柏林的聪明伶俐的Vaimai精英，或是那群机智风流的衣冠楚楚者截然不同的替代选择。正如里昂·费希特万格的小说《成功》中的一位典雅的巴伐利亚人物所说，如果一个人必须为自己的舒适圆腹感到羞耻，那么事情就到了相当糟糕的地步。相反，这应该是自豪展示的东西，尤其是在共和国其他地方正因饥饿而挣扎的时候。这种男人会被别人像传统上男人欣赏女人的那种眼光打量，仿佛这是世上最自然不过的事，而这样的想法对这样的男人来说只会显得可笑得不可思议。
▶ 英文原文 ⏱
Without them. These corpulent characters who later became a Nazi cliché, amply embodied the alternative to the glittering smartness of the Vaimai elites, that whole flea hopping wit dandy crowd from Berlin, in the words of one such stately Bavarian character in Leon Feistwanger's novel, Efolk, success. Things had come to a pretty pass if one was supposed to be ashamed of one's cozy paunch. On the contrary, it was something to be carried proudly around, especially as the rest of the republic succumbed to hunger. Becoming the object of the sort of appraising gaze with which men traditionally observed women as if it were the most natural thing in the world, this kind of man would have found such an idea laughably presumptuous.
为了确保万无一失，正是这些令人厌恶的人竟无耻地把外貌和身体上的一些不吸引人的特征归咎于犹太人，并且执着地把他们描绘成鹰钩鼻。丑陋的纳粹分子和城市中的圆滑之徒奔向毁灭的边缘，这两个刻板印象在魏玛共和国丰富的面貌生动地形成了截然相反的对比。在这些极端之中，似乎与我们今天的世界有着相似之处。
▶ 英文原文 ⏱
And for good measure, it was precisely such repellent men who had the gall to attribute unattractive facial and physical features to Jews, and obsessively paint them with hooked noses. The ugly Nazi and the city slicker dancing to the edge of destruction, two stereotypes that form extreme and telling antithesis in the broad panorama of physiognomies that made up the face of the Vaimai Republic. In its very extremes, it seems contemporary to us today.
举一个例子，这个十年中流行的面孔是在库弗斯坦大街的弗里达·里斯摄影工作室里打造的。里斯于1890年出生在普鲁士的昌尼考，也就是今天的昌考夫。许多演员、作曲家、作家、画家、影星和外交官都纷纷来到她的工作室拍照。里斯非常擅长用一种手势生动、富有表现力和绘画感的风格捕捉她的模特，她通过运用阴影和模糊效果，为肖像增添了深度和质感。她能将被拍摄者复杂的内心世界展现在纸上，效果非凡。
▶ 英文原文 ⏱
The trendy face of the decade was created on Kourfustendam, in the photographic studio of Frida Ries, to take one example. Ries was born in 1890 in Chanikao in Prussia, present-day Chankoff, and actors, composers, authors, painters, film stars and diplomats flocked to her studio to be photographed. Ries was extremely skilled at capturing her models in a gesturally vivid, expressive and painterly style, which used shadows and blurring to give depth and texture to her portraits. She was able to bring the complicated inner lives of her sitters to the surface and fix them on paper to magnificent effect.
在著名摄影协会的工作室几百米之外，有她的同事EVA的工作室，比她小十岁。虽然EVA的客户没那么显赫，但她的工作室同样成功。EVA, 原名 Eilzanoi Lendazimon，出生于1900年，是很多由乌尔施泰因公司出版的画报的视觉语言塑造者。28岁时，她的团队中已有十多名女性同事，为她的媒体机器提供图片素材。由于新印刷技术的出现，杂志的图片内容增加了很多倍，而公众对图片的渴求依然无止境。
▶ 英文原文 ⏱
A few hundred meters from the studio of the famous Society of Photography was the studio of her colleague, Eva, ten years her junior. Her clientele was less prominent, but her studio no less successful. Born in 1900, as Eilzanoi Lendazimon, Eva shaped the pictorial language of many of the illustrated magazines published by the Ulchstein company. By the age of 28, she had more than ten female colleagues working for her, helping her keep the media machine supplied with pictorial material. Thanks to new printing techniques, the pictorial content of the magazines had increased many times over, and the public's hunger for images remained insatiable.
在1920年代，照片是大众传媒的主要形式。伊娃专注于照片故事的创作。她制作的大胆新颖的照片小说既极具娱乐性，又在视觉上非常出色。同时，她还尝试多重曝光，因其能够让拍摄对象看起来像在跳舞的独特风格而声名鹊起。正因如此，人们常常将她与那时居住在巴黎的美国超现实主义摄影大师曼·雷相提并论，而曼·雷是现代摄影的重要先驱之一。
▶ 英文原文 ⏱
The photograph was the mass medium of the 1920s. Eva specialised in photo stories. She staged risque photo novels that were both highly entertaining and of excellent visual quality. At the same time, she experimented with multiple exposure and became famous for her synoptic style, which made her objects appear to dance. For this reason, she was often mentioned in the same breath as Man Ray, the American surrealist living in Paris at the time, who was one of the great pioneers of modern photography.
翻译成中文：
Eva 的时尚摄影追求的是柏林前卫文化中的享乐主义理想。在 1930 年代初期，她的作品中的主人公从最初的乐意展示自我之美，逐渐变得更具雕塑感。最后，他们看起来像是对完美的张扬展示，几乎带着傲慢。1936 年，一位 16 岁的少年在离开学校后成为 Eva 的学徒，两年间，他深受这种宁静英雄主义的影响，他就是赫尔穆特·纽顿。Eva 的一些照片在后来纳粹的理想化时尚摄影风格中可能显得相得益彰，但 Eva 和 Frida Ries 一样，都是犹太人。即使她的图像语言与新古典主义的时尚摄影审美相契合，这一点也足以使她成为纳粹的敌人。
▶ 英文原文 ⏱
Eva's fashion photographs pursued the hedonistic ideals of the leading Berlin scene. Around the beginning of the 1930s, her protagonists, originally happy to put their own beauty on display, became more and more statuesque. In the end, they looked like monuments to a perfection that was put almost arrogantly on view. One 16-year-old, who spent two years as an apprentice to Eva after leaving school in 1936, was deeply influenced by this quiet heroism, Helmut Newton. Some of Eva's pictures would have fitted in well with the idealising style of later Nazi fashion photography, but Eva, like Frida Ries, was Jewish. That alone made her an enemy of the Nazis, however neatly her pictorial language might have sat aesthetically with a new classicism in fashion photography.
Ries 和 Eva 的肖像画极为不自然。任何想了解魏玛德国人真实面貌的人都应该翻阅一下 August Zunder 的作品。他的作品同样不自然，但方向相反。他追求的不是美，而是现实。他的书《我们时代的面孔》于 1929 年出版。书中的肖像展示了整个共和国的照片横截面，从 Vestawald 的农民到现代的柏林建筑师都有。匈奴类型人物同年轻的探戈舞者一样反映在作品中，虽然他们在魏玛时期的集体记忆中占据重要地位，但在《我们时代的面孔》中实际上是绝对的少数。
▶ 英文原文 ⏱
Ries and Eva's portraits were highly artificial. Anyone wishing to form an idea of what the real physiognomy of Weimar Germans might have looked like should flick through the work of August Zunder. It too was artificial, but in the opposite direction. He wanted not beauty, but reality. His book, Face of Our Time, was published in 1929. The portraits provided a photographic cross-section of the whole republic, from the farmer in the Vestawald to the modern Berlin architect. The Hun type was just as much a presence as the young Tango dancer, but both, even though they remained prominently represented in the collective memory of the Weimar period, were an absolute minority in Face of Our Time.
相反，尊德（Zunder）专注于普通事物中的非凡之处。从1920年代中期开始，生于1876年的奥古斯特·尊德（August Zunder）设下雄心勃勃的目标：在他的摄影板上记录20世纪的人们。照片中的人物都是正面展示，他们选择自己的姿势，穿着代表他们身份的典型服装。这些画像不仅展示了个人，还反映了他们的阶层、出身、地域和信仰。他们是象征集体的个体。正如阿尔弗雷德·德布林（Alfred Durblin）在《我们的时代的面孔》序言中所写，人们通过生活打磨和风格化成了类型。
▶ 英文原文 ⏱
Instead, Zunder devoted himself to the amazing range of the normal. From the mid-1920s onwards, August Zunder, born in 1876, set himself the ambitious goal of recording the people of the 20th century on his photographic plates. Shown frontally in the picture, in poses they had chosen themselves, and in their typical clothing, the sitters were intended to represent both themselves and their class, their origins, their regions, their convictions. They were individuals who stood for something collective. People honed and stylized by life into types, as Alfred Durblin wrote, in his preface to Face of Our Time.
在杜布林看来，尊德尔是在通过图像而不是文字进行社会学研究。他采用比较摄影的方法，专注于过去30年的文化、阶级和经济历史。《我们时代的面孔》将成为一个涵盖600张照片的综合作品集，按阶级和职业、城市和地区、政治活动、融入和边缘化程度等进行分类。在1964年尊德尔去世于科隆时，这个项目尚未完成，但目前为止的工作已极为令人震撼。
▶ 英文原文 ⏱
In Durblin's eyes, Zunder was practicing sociology without writing. Comparative photography devoted to the cultural class and economic history of the last 30 years. Face of Our Time would be the foundation of a comprehensive portfolio of 600 photographs, organized by class and profession, but also by city and region, political activity, degree of integration and marginality. The project was not concluded when Zunder died in Cologne in 1964, but the work, as it stands, is enormously impressive.
一个独特的人群集合，他们在多样性中显得辉煌，而作为某种类型的辨识却让人感到些许悲伤。大多数画作是在魏玛共和国时期创作的，构成了其人口的全面“动物园”。他们像蝴蝶标本一样站着或坐着，那位授权代理人把伞笔直地举在空中，像一个感叹号；那位瘪嘴的公证人和他的黑色杜宾犬；账目似乎合上的银行家，他看起来对自己非常满意。三个聪明的年轻农民，他们正赶去舞会，决心赢得芳心。失业的乞讨妇女，无意识地摆着一个S型的姿势，这在中世纪雕塑中象征着谦卑；还有在菲尼克20分邮票上摆出政治家姿态的黑森-纳索大公。
▶ 英文原文 ⏱
A unique collection of people, magnificent in their diversity, sad in their identifiability as types. Most of the pictures were produced in the Weimar Republic, and constitute a comprehensive bestiary of its population. There they stand and sit like a butterfly collection, the authorized signatory holding his umbrella stiffly in the air like an exclamation mark, the pinched notary with his black Doberman, the banker whose figures appear to have added up. He looks so pleased with himself. The three smart young farmers on their way to a dance determined to make a conquest. The unemployed beggar woman, unconsciously adopting an S-shaped posture, the formula of humility in medieval sculptures, the archduke of Hessen Nussau in the statesman-like pose of the president of the Reich on the 20th Fennec stamp.
《我们时代的面孔》可以被视为魏玛社会分类的一种实用指南或培训手册，就像瓦尔塔本杰明形容的那样。在那个时代，展示社会各个阶层的肖像画册备受推崇。在一个深陷混乱的时代，人们希望能从面相上找到安全感。同时，《我们时代的面孔》也是摄影师毅力的见证。我们还能看到许多传统如何延续到了现代社会。那些延续了几个世纪的古老传统，面对二十世纪的动荡即将消逝。在那个时代，许多人在心灵深处保留着完整且有礼貌的传统，但这些传统在公共生活中已无法找到实现的空间。古洛曼在他的序言中对1971年出版的《二十世纪无面具的人》精选集《Menshen ohne Maske》如此描述。
▶ 英文原文 ⏱
Face of Our Time is the kind of field guide, a training manual, as Valtabenjamin called it, for the classification of Weimar society. Portrait volumes showing a cross-section of society were highly thought of at this time. In an age that had fallen deeply into chaos, people wanted to be sure of their physiognomy. At the same time, Face of Our Time is a document of the photographer's persistence. We can also see how many traditions extended into the modern world. Centuries old traditions that were about to be swept away forever by the tumults of the 20th century. It was a time in which many people preserved intact and decorist traditions in their souls, but those traditions no longer found fulfillment in any shared public life, Goulomann wrote in his preface to a selection of Zundar's People of the 20th century published in 1971 under the title Menshen on a Musker, People Without Masks.
他的许多被画者都有一种自我呈现的方式，这种方式似乎对他们来说是合适的。他们穿着据说能够表达他们社会阶层、地位和在一个不再如此井然有序的世界中的位置的衣服。在男性中，三件套西装出现的频率惊人。无论他们属于哪个阶层，他们都必须有一身西装。外套在日常生活中是理所当然的，但马甲也必不可少。即使是革命者伊雷·穆森也穿着一件，而他的两个同伴则支持他的贝尔托尔特·布莱希特式的左翼形象。四个聚在一起深思的学生也穿着马甲。在弗斯塔瓦尔德的农民中，这被认为是理所当然的。杂货店老板在围裙下面也穿着马甲，退休公务员的肚子上舒适地撑起的马甲则饰有一条金表链。
▶ 英文原文 ⏱
Many of his sitters have a way of presenting themselves that seems appropriate to them. They wear clothes that are supposed to express their social class, their standing, their place in a world that no longer exists in such an orderly form. Three-piece suits appear with startling frequency among the men. Regardless of their class, they have to have a suit. The jacket was taken for granted in everyday life, but the waistcoat had to be there too. Even Irej Musam, the revolutionary wears one, and his two comrades back up his Beartholt Brecht's leftist look. The four students grouped close together deep in thought also wear waistcoats. Among the farmers of the Vestavald, it is considered only fitting. The grocer wears one under his aprons, and another one stretches comfortably over the belly of the retired civil servant, decorated by a gold watch chain.
即使有些工人穿着粗织面料的背心。事实上，这位柯尔曼工人穿着白衬衫，外面套着背心，在城市中运输他那肮脏的货物。只有在需要穿工作服、传统服装或工装时，背心才会消失。在海关官员和邮递员，牧师和士兵，核心学生和糕点大师的照片中。其余的人都穿着市民平等的服装，包括银行家、平民和农场工人。虽然他们的面孔、身体姿态和双手可能揭示出他们社会地位的巨大差异，但祖达尔作品中那些几乎相同的西装，无论是旧的还是新裁的，都传递着一种民主的归属感。这些服装为我们的时代带来了一丝市民的尊严。
▶ 英文原文 ⏱
Even some workers wear waistcoats of a coarse fabric. The Colman, in fact, carries his filthy load through the city, wearing a white shirt under his waistcoat. Only wear work clothing, traditional costumes or overalls are required, does the waistcoat disappear? In the pictures of the customs officer and the postman, the vicar and the soldier, the core student and the master patissier. The rest wear the clothing of bourgeois equality, bankers, burgers and farm labourers. While their faces, their physical posture and their hands might betray the sometimes extreme differences in their social positions, the largely identical suits of Zundar's protagonists, where they are well worn or fresh from the tailor, reveal a sense of democratic belonging. They introduce a breath of civic dignity into the face of our time.
这些面孔的多样性当然很吸引人，但它们的古老外观和对类型的符合同样引人注目。大多数面孔与人们对他们职业的期望相符。世代从事的体力劳动在这些人身上留下了印记并加以区分。虽然这些面孔受到环境的塑造，但在狭隘的社会模式中，个人的光芒仍然显露出来，展现出真正有个性的面孔。这样的个性需要通过出身、地区和阶级的束缚作为平衡，才能得以蓬勃发展。个性在社会角色的矛盾互动中成长，而这些角色是由固定的传统社会秩序所强加的。
▶ 英文原文 ⏱
The variety of the faces is fascinating, of course, but so are their archaic appearance and their conformity to type. Most of the faces fit. They correspond to what one might expect of their profession. Manual work, often practiced for generations, has marked and identified these people. The landscape has shaped them, but within the narrow bounds of social moulding, the person shines through and truly characterful faces appear. Such individuality requires, as a counterbalance, the fetters of origin, of region, of class, if it is to flourish. Personality matured in the conflicted interplay of social roles into which people had been forced by the fixed traditional social order.
在尊达尔的作品中，女性的面孔较少受到她们所处环境的影响。相较之下，男性往往因为劳动分工在几代人的时间里被其职业所塑造，无论是裁剪、缝纫、簿记、教学、医疗还是贸易等技艺都在他们的容貌上留下了印记。女性似乎更少受到这种社会条件的限制。无论贫富，城市居民还是乡村居民，女性的活动都比男性的更相似。家务、抚养孩子和提供家庭情感支持等技能比男性在专业领域中发展的技能更为普遍。可能正因为这个原因，尊达尔笔下的女性显得不那么具体。
▶ 英文原文 ⏱
In Zundar's collection, the faces of the women are less determined by their environment. While among men, the division of labour has often shaped the physiognomy over generations, and the various crafts of tailoring, sewing, bookkeeping, teaching, healing and trading have been etched on the features. The women seem freer from such social conditioning. Whether rich or poor, city-dweller or villager, women's activities were more similar to one another's than men's. The skills required for housekeeping, child rearing and providing emotional support for the family were more universal than those that men nurtured for their specialised professional lives. It is probably for this reason that Zundar's women appear less specific.
可以很容易地想象，他们中的许多人出现在各种环境中，不同的社会阶层中，他们的身份不再被特定职业环境紧密约束。他们对现代生活更加开放，并且更勇于尝试，就像他们大胆的时尚和随处可见的波波头发型显示的那样。祖达尔描绘的男性形象则更多地受到地位、技艺和阶级的影响。他们似乎更加被外部因素所塑造，以至于看起来有些古怪。因此，这些人物构成了一幅生动的全景图，让帝国时代的许多特征延续到了魏玛共和国的冷峻自由中。
▶ 英文原文 ⏱
It's easy to imagine many of them in a great variety of settings and in different social classes, less informed by bonds to particular professional environments. They are more open to the modern age. They also experiment more with themselves than the men do, as we might conclude from their more audacious fashions and the ubiquitous Bob. Zundar's men are more energetically drawn according to position, craft and class. They appear more determined by external forces, moulded more extremely to the point that they look quite odd. As a result, they constitute a physionomic panorama that lets many aspects of the imperial age carry over into the cold freedom of the Vymar Republic.
真正的现代面孔呈现出一种不同的样子，常常因为战争和通货膨胀的影响而显得憔悴。这个国家在很大程度上已经恢复，但那场灾难性打击留下的震惊仍深入人心。没有个人特征的大众成为了这个时代的象征。在较小的城镇中仍然明显的高度分化的社会结构在城市中被打破，取而代之的是一种名义上机会平等的自由。这种对人类本身的美学追求正好反映了这种抽象的平等。
▶ 英文原文 ⏱
Truly modern faces had a different look, often ravaged by the effects of war and inflation. The country had largely recovered, but the shock of that fatal levelling was still deep in people's bones. The faceless mass became the sign of the age. The highly differentiated social structure that was still apparent in the smaller towns had broken down in favour of a freedom of nominally equal chances in the cities. The aesthetic search for this human being as such corresponded to this abstract equality.
这个例子中，摄影师赫尔玛·拉斯基表现得尤为突出。她在1931年出版了备受赞誉的作品《Kupferdus Altax：日常生活中的面孔》。在极近距离下，她让从劳工市场找到的模特们摆脱了一切可能暴露其社会背景的特征，例如时尚选择和职业，并利用强烈的光线将他们的脸庞塑造成戏剧性的裸露存在。这些常常显得粗糙的面孔抛弃了所有熟悉的温馨，直接且令人不安地展示了一种类似于生物尊严的东西，宛如用相机镜头进行的存在哲学探索，其中还夹杂着一点高傲的光影雕塑的韵味。
▶ 英文原文 ⏱
A prime example of this is the work of the photographer Helma Laski, who brought out the highly regarded volume, Kupferdus Altax, faces from everyday life in 1931. In extreme close-up, he stripped his models whom he brought to his studio, from the labour exchange, of all the attributes that might have given away their social origins, such as fashion choices and occupations, and used harsh lighting to sculpt their faces into dramatic physiognomies of naked existence. These often raw faces have lost everything cosily familiar and demonstrate in unsettling directness something like creaturely dignity, existential philosophy with a camera lens, with more than a hint of super-silious light sculpture.
没有人认识的人，以及那些不了解自己的人，正是这种新型独特光影艺术的最佳承载者，正如书的前言中意味深长地写道。后来，这个人是一位一生中从未敢抬头的街道清扫工。摄像机把他挺直，而一个独裁者可能会嫉妒他那不凡的侧影，独特的个性。这甚至使肖像摄影也围绕着个体与大众之间的关系运转。
▶ 英文原文 ⏱
People no one knows, people who don't know themselves, are the best bearers of this new and special kind of light art, the foreword to the book tellingly puts it, and later this is a street sweeper who never dared to raise his head throughout his life. The camera straightens him up and a dictator might envy him his imperious profile, individual type, people. Even portrait photography revolved around the relationship between the individual and the mass.
在1933年，艺术家瓦娜·海德指出，大众的统治地位如同一群没有面孔的空洞之人，是一场虚无者的行军，是一个由无意义的人组成的城市广场，偶尔还有旗帜飘扬。可以将这理解为对尊达所描绘的“我们时代的面孔”的一种对立画面。不同于有个性的脸庞，空荡的卵形，尊达的纪实摄影展示了个性是由劳动所产生的。如果这些劳动消失了，从事这些劳动的人还剩下什么？
▶ 英文原文 ⏱
In 1933 the artist Vanna Head identified the dominance of the mass as an oppressive collection of faceless airheads, a march of nothing's, an urban square filled with empty circles, with the occasional banner of a flag. It can be read as a counter-image to Zunda's face of our time. Instead of characterful faces, empty eggs, Zunda's documentary photograph showed individuality as being produced by work. If that work disappeared, what would remain of the people who did it?.