英文学术论文：In Queer Memory By Helen Leung

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之前在红百度俱乐部开得帖子，但是俱乐部暂时被关闭了，所以转贴到研究会来。另外就是最近明哥出柜的事情，扯到之前哥哥97演唱会献唱的事情，有些人可能认为哥哥才是第一个在舞台上承认自己同性恋身份的艺人，但在我看来不算是。这篇论文讨论的也是哥哥演艺事业中性别策略的问题，大家同不同意不重要，只是希望能给大家一个新观点作为参考。



其实到底要不要贴出这篇超长的英文学术文章，我犹豫了好久。一方面是我自己长达一年断断续续的翻译还是差得要命（捂脸），另一方面，心底也怀疑这样艰涩的学术论文贴出来到底有几个人愿意看。最近忽然觉得，大概只有贴出来跟更多人分享，死的文章才会有意义，所以打算慢慢的一点一点贴上来。也非常希望大家（我知道荣迷中有好多高人）能够一起交流，关于文章的翻译，对于文章观点的看法。

先简介一下作者和本书。作者梁学思（Helen Hok-Sze Leung）是加拿大学者，致力于酷儿文化(Queer Culture) 的研究和理论。其论著《暗涌》(Undercurrents: Queer Culture and Postcolonial Hong Kong)是香港大学筹办的“酷儿亚洲书刊系列”（Queer Asia Book Series）中一本。而我节录的 In Queer Memory 是此书中的一章，作者梁学思将张国荣作为一个酷儿的标志进行研究。






作者梁学思在西蒙菲沙大学（SFU）Simon Fraser University的主页：http://www.sfu.ca/~hhl/index.html

最后八个卦：本书作者和香港词人周耀辉是学术界好友。

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不知道这样贴出来是否侵犯版权，如果真算是的话还望作者见谅，这里只做交流讨论，没有任何商业之用。
In Queer Memory
Leslie Cheung（1956—2003）
“2003 was a damn tough year to sallow!” The widely shared sentiment finds dramatic expression in Golden chicken 2 (Samson Chiu 2003), the runaway box office hit that portrays events in that year through the eyes of a quirky and resilient sex worker. Indeed, for a population still reeling from years of economic downturn and living under an inept postcolonial administration that was nonetheless “reelected” in 2002 through an undemocratic political system, 2003 must have felt like an insult added to injury. The unexpected onslaught of SARS had ravaged the city in both health and economic terms, while the government was planning to write into law highly unpopular piece of anti-sedition legislation – the controversial Article 23 - despite widespread popular dissent. Boiling discontent erupted on the sixth anniversary of the handover when a half-million people took to the streets to protest the proposed legislation and, by implication, life under the(then) current administration. It was during such a tumultuous year and on the most absurdist of date – 1 April – that actor and singer Leslie Cheung took his own life by jumping from the twenty-fourth floor of the Mandarin Oriental Hotel in central, Hong Kong’s downtown core, against the backdrop of a magnificent sunset over Victoria Harbour. Only forty-six at the time of his death, Cheung was an eclectic and long-Established artist at the height of his professional powers, with more than forty best-selling albums and fifty-six films – many internationally acclaimed – to his credit. The suicide was attributed to severe clinical depression, but the public responded with an overwhelming wave of shock and grief, as though channeling the pent-up frustrations and unhappiness from their own lives. Even in the drizzling spring rain and under the grim threat of SARS, thousands came out to mourn Cheung’s passing. For weeks the site of his death was awash in a sea of flowers and mementos. Through both print and digital media, eulogies poured in. Cheung’s death was repeatedly mourned as the passage of an era. Sociologist Ng Chun-hung declared that “ a generation has officially ended ”. Music scholar Joanna Lee called Cheung’s twenty-six-year career “a testament to Hong Kong’s transformation” and a marker of the city’s “years of glory.” Writer and artist Mathias Woo described Cheung’s passing as “a traumatic blow to a city already so bereaved” and “ a death-toll to an era.” Almost as frequently, Cheung was also praised for his sexual courage. An editorial in the Economic Daily characterized Cheung’s sexual openness as “a challenge to the normative social value of masculinity.” Film critic Lam Pui-Li stated that he regards many of Cheung’s film role as “a gay person’s brave coming out journey.” Reporter Wat Wing-Yin lambasted those who expressed contempt for Cheung’s homosexuality and voiced her admiration for Cheung’s eighteen-year relationship with his male lover.

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“2003年是我们香港人最艰难的一年。”关于2003年的这一被人们普遍认同的情绪呈现在电影《金鸡Ⅱ》（张良骏，2003）中这句戏剧性的表达上。这部取得很好票房的电影，通过一名奇特怪异而坚韧不拔的性工作者的眼睛描绘了这一年的大事件。的确，对于那些遭遇连年经济衰退的不幸以及生活在通过不民主的政治制度而得以连任的不称职的后殖民政府下的人们来说，2003年一定像是屈辱又加新伤。SARS的意外冲击使得这个城市在健康和经济方面受到蹂躏，而与此同时，政府正在计划将最不得人心的反煽动法——饱受争议的第23条——写入法案，尽管还存在着广泛的异议。沸腾的不满情绪爆发于回归六周年之际，50万人走上街头抗议拟议法例，这也暗示着对当届政府下生活的抗议。在如此动荡的一年以及最荒诞一个日子——四月一日——演员、歌手张国荣从位于香港商业中心的东方文华酒店的二十四楼一跃而下，结束了他的生命，背景是维多利亚港湾最美的日落。年仅四十六岁。张是一位兼收并蓄且长期屹立不倒的艺术家，在专业领域有着很高的地位，以超过四十张的畅销专辑和五十六部电影——许多受到国际认可——作为他的功绩。自杀的原因是严重的抑郁症。（张的去世：译者补）在公众中引发了巨大的震惊和悲痛，似乎也引发出人们压抑许久的对于自身生活的挫折感和不满。即使当时笼罩着蒙蒙春雨，经受着SARS的严峻威胁，成千上万人走出家门悼念张的离开。一连几个星期，张死亡的地点淹没在鲜花和纪念品的海洋。悼念充盈于印刷和电子媒体，张的去世被作为一个时代的过去而多次哀悼。社会学家吴俊雄宣布“一个时代已经正式结束了。”音乐学者李正欣称张二十六年的演艺生涯“见证了香港文化的转变”，也标志着这个城市“兴旺的一段历史”。作家、艺术家胡恩威认为张的去世“令香港雪上加霜”，也“代表着一个时代的终结”。张也时常因为他面对自身性取向的勇气而备受称赞。经济日报上的一篇评论认为张性取向的公开代表着“一种挑战既定社会男性价值的标记。”电影评论家林沛理声称他将张的许多电影角色看做“一个同性恋者勇敢地站出来，承认自己的性取向的心路历程。”记者屈颖妍痛斥那些因为同性恋而蔑视张的人，并表示，张与其恋人的十八年的爱情让她艳羡。

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It was certainly unprecedented in Hong Kong for a public figure’s death to prompt such an outpouring of affection while at the same time eliciting ao much positive commentary on his sexuality. Perhaps as a response to this unusually affirmative media attention, tongzhi organizations also began to publicly acknowledge Cheung as one of their own. The popular website Gay Station floated a banner with Cheung’s picture accompanied by the word “Our Pride”, while members of its bulletin board spontaneously launched a campaign that called on its members to post pictures of orchids (Cheung’s favourite flower) on a thread that recorded over 20,000 hits and, to this day, remains one of the top ten most viewed topics of all time.[ ] Prominent tongzhi organizations such as Horizon, Queer Sister, Rainbow Hong Kong, and Chi Hang Foundation published tributes in major newspapers and followed up with numerous memorial activities. At his death, Cheung had become both Hong Kong icon and a queer icon. In 2005 cultural critic Natalia Chan published an impassioned article in which she dubbed Cheung an “icon of transgression.”[ ] The term Chan uses for “icon” in Chinese is literally “sacred figure”(shengxiang), a word choice that nudges the posthumous discourse on Cheung toward a hagiography. While Cheung is without a doubt one of the most iconic figures for the generation in Hong Kong that came of age in the 1980s, a careful look back at his career as well as tongzhi communities’ response to his public persona reveals that he has not always been considered a figure of “transgression” or the “pride” of the tongzhi community. Nor by any stretch of the imagination could his film roles be understood as documentation of “ a gay person’s brave coming out.” Ironically, the well-intentioned rush to memorialize Cheung’s life, art, and relation to Hong Kong’s tongzhi communities in a positive light has instead buried the complexity and ambivalence that in my view contributed most to Cheung’s iconicity.

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一个公众人物的死亡引发出一种集体的感情波动，与此同时引发了对其性取向的一种积极评论，这在香港无疑是史无前例的。或许作为对这种媒体表现出的不寻常的肯定的回应，同志组织也开始公开的承认张是他们中的一员。最有名的网站Gay Station飘扬起一面印有张图片的旗帜，并于其上写着“我们的骄傲”，而其布告栏成员也自动发起一个运动，号召成员们敬献兰花（张最爱的花），而这个活动有超过两万的点击量，成为最令人注目的前十名活动主题之一。著名的同志组织，如地平线、姐妹同志、香港彩虹、智行基金会在主要报刊上发表悼词之后也举办了一些列的追思活动。在张去世后，他已成为香港的图像（Icon)，酷儿的图像。2005年，在文化评论家洛枫发表的慷慨激昂的文章里，她将张形容为“越轨的图像”。洛枫使用的代表“图像”的词语在中国语言中意为“圣像”，一个将张身后的评论推举为圣徒形象的词语选择。毫无疑问，对于香港八十年代正当年的一代人来说，张是其中最具代表性的公众人物之一，然而，仔细回顾张的演艺事业和同志团体对其公众形象的回应，张并不总被看做“越轨”的形象，或者同志团体的“骄傲”。张的电影角色也不能够被看做“一个同性恋者勇敢地站出来”的记录，如果不加上一点想象力的延展的话。讽刺的是，如此急切的用心良苦的纪念张的生命、艺术，并在一种积极的角度将其与香港同志团体相联系，反而埋没了复杂性和矛盾心理，而在我看来，正是这种复杂性和矛盾心理最大地造就了张的象似性（iconicity )。

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等我慢慢贴完吧……

柏拉图的自慰

期待下文，呵呵

Mouthtea

有点小深奥

chase_andchase

謝謝你!!!
這文寫得好 你也譯得不錯!! 加油!!

foreveryou

要不先把英文贴出来，荣迷能人那么多

绝代佳人

期待～～～

君生我未生

加油，我在后面回帖默默的支持你一下

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  It is no accident that so many of those who were moved to write eulogies view Cheung as a symbol of their generation. His life and career reflect the trajectory of a unique historical time-space. From his difficult beginnings in the 1970s to his gradual, eventual rise to mainstream stardom in the 1980s, his abrupt retirement and immigration to Vancouver in late 1989, and his eventual return to Hong Kong in the mid-1990s, Cheung’s career follows the vicissitude experienced by many people who belong to the first generation born and bred in Hong Kong and whose identities, unlike those of their refugee parents are not tied to the mainland but to Hong Kong. The economic take-off during the 1970s and the historically unique role of Hong Kong as the (then) only gateway into China, created the “golden era” that many mentioned. Cheung’s two stunning “exits” also paralleled the city’s significant transitional moments. Cheung’s sudden and unexpected retirement at the peak of his career in 1989 mirrored the panic experienced by many after the crackdown in Tiananmen in 1989. It was commonplace then to leave successful careers to migrate to countries like Canada and Australia, despite the acknowledge that many would not be able to continue the same careers abroad. Cheung’s eventual return was also typical of many immigrants, who, after the requisite years of residency to obtain foreign citizenship, promptly returned to Hong Kong, especially during the economic boom after 1992. Finally, Cheung’s very public, very tragic death during the darkest hour of the city uncannily completed the parallel. It was as though Cheung’s life had encapsulated the culmination and then termination of all the historical factors that had nurtured and made Hong Kong a success.

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如此多的人写悼念文章将张视为他们一代的标志，这绝非偶然。他的一生和事业反映出一种独特的历史时空轨迹。七十年代艰难的起步，到八十年代逐步且最终的崛起为主流的明星，1989年突然的退休并移民温哥华，九十年代中期回归香港，张的事业生涯与许多出生成长的第一代香港人的变迁经历相仿。不同于他们因避难来港的父母，他们与香港紧密相连，而非大陆。七十年代香港的经济起飞，以及香港历史性的独一无二的角色即作为（当时）进入中国的唯一通道，创造了被多次提起的“黄金时代”。张的两次“退出”都并行着这个城市意义非凡的过渡时刻。1989年，张在其事业生涯的高峰突然退出，反映出了许多人经历了tiananmen事件镇压后的惶恐。放弃成功的事业移民其他国家如加拿大、澳大利亚等国家在当时是极为常见的，尽管需要承认许多人可能无法在国外继续从前的职业生涯。张最终的回归也是许多移民者中的典型，在国外居住几年获得外国国籍后，及时返港，特别是在1992年后的经济繁荣期。最后，在香港最黑暗时期，张的公开的、惨烈的死亡，惊人地完成了这种平行（译者注：张的生命轨迹与香港城市发展的一种平行）。仿佛张的生命封存了孕育香港成功的历史性因素的高潮及终端。

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If it is easy to see why Cheung was so frequently hailed as a Hong Kong icon, it is a more complicated matter to understand his queer iconicity. The many eulogies celebrating Cheung’s sexual courage seem to give the impression that he was the first openly gay Chinese superstar. Yet, in actuality, Cheung had never publicly identified as gay or acknowledge his lover except as his “very good friend.” He declared his bisexuality once, and as I will discuss in some detail later, the gesture caused considerable controversy among tongzhi audiences at the time. For years, Cheung stipulated that he would never answer questions about his personal life in interviews, often flaring into a temper when asked.  Even when speaking with a trusted interviewer, such as during a famous interview with former girlfriend Teresa Mo in 2001, he would cleverly exploit the ungendered pronoun in Cantonese and always speak of his lover in gender-neutral terms. Yet, at the same time, since reappearing from his retirement in the 1990s, he tackled both implicit and explicit gay and transgender roles in high-profile projects and consistently deployed a recognizably queer visual aesthetic on stage and in music video. Furthermore, as long as the discussion did not veer toward his personal life, Cheung was perfectly willing to discuss queer issues in relation to cinema and music, often in provocative and very intelligent ways. Unlike out gay celebrities in the West like Ellen Degeneres or Rufus Wainwright, who have publicly declared their sexual identities and often ally themselves with gay-related activism and charities, Cheung opted to oscillate between secrecy and openness while maintaining distance from a public gay identity and tongzhi causes. In this respect, Cheung more closely resembles a figure like the late Freddie Mercury. In an article written for AfterElton, a site that monitors queer visibility in the popular media, Robert Urban looks back at Mercury’s life and offers a characterization that would have worked just as well for Cheung: “Mercury did not ally himself to political ’ outness, ’ or to public GLBT cause … John Marshall of Gay Timer wrote in January 1922: ‘He is a “scene-queen.” not afraid to publicy express his gayness but unwilling to analyze or justify his lifestyle … It was as if Freddie Mercury was saying to the world, “I am what I am. So what? ” And that in itself was a statement.’ ”  Coincidentally, Cheung was so fond of the phrase “ I am what I am,” a line he heard in the film La Cage Aux Folles, that he commissioned lyricist Lin Xi to Write a song using the phrase as a title. And just as Mercury in his time had incurred the criticism of gay activities, Cheung’s deliberate ambivalence has likewise caused rifts within tongzhi communities and, as I will show later, provoked both anger and admiration.

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如果为什么张被经常性地誉为香港的图像（icon）这个问题很容易理解，那么明白张的酷儿像似性（iconicity）则是一个更复杂的问题。许多悼词称赞关于张面对其性向的勇气，这给人带来这样一种印象，即他是第一个公开同性恋身份的中国明星。然而，事实上，张从来没有公开承认自己是同性恋，或者承认他的同性恋人除了“好朋友”以外的身份。张曾经承认自己是双性恋，我会在后面会对此进行一些细节的讨论，这个姿态当时在同志观众中引发了相当大的争议。多年来，张在采访中都拒绝回答私人问题，被问到时，常常会发脾气。即使是与信任的采访者交谈，例如在2001年与前女友毛舜筠的那次有名的访谈中，张巧妙利用粤语中不明性别的代名词，将他的爱人放在一个中性的语义中。然而，与此同时，自从他于九十年代复出后，他在许多备受瞩目的电影中演绎了隐性或显性的同性恋和跨性别的角色，并持续在舞台上和音乐录像上进行酷儿视觉美学上的实验。此外，只要讨论中不涉及张的私人生活，他是很愿意讨论和电影、音乐相关的酷儿问题的，通常以挑逗性的、非常聪明的方式。不同于西方出柜的同性恋名人，如Ellen Degeneres 或者 Rufus Wainwright公开承认了自己的性取向，并常常参与同性恋的相关活动或慈善机构，张选择游移于保密和公开之间，同时与公开的同性恋身份、同志事务保持一定的距离。在这个方面，张与已故的Freddie Mercury甚为相似。AfterElton——大众媒介中的颇有酷儿知名度的网站——上的一篇文章，Robert Urban回顾了Mercury的一生，并提出一系列表征，而这些表征同样符合张：“Mercury并没有参与政治性的‘出柜’或者公开的LGBT事业【注：LGBT或GLBT是女同性恋者（Lesbians）、男同性恋者（Gays）、双性恋者（Bisexuals）与跨性别者（Transgender）的英文缩写。】Gay Timer（译者注：貌似是个杂志？）的John Marshall于1922年一月写道“他是一个场景女王”，不怕公开表达他的同性恋倾向，但他不愿意以此来分析或者论证他的生活方式，正如Mercury对世界所说的“我就是我，那又怎样？”这本身就是一种声明。巧合的是，张也喜欢这句话“我就是我”，他在电影《La Cage Aux Folles》中听到这句话，便委托林夕以这句话作为标题写一首歌。正如Mercury曾经招致同性恋活动的批评一样，张刻意的模棱两可也同样造成了同志群体内部的分裂，引起了愤怒和钦佩两种态度，，这一点我后面会说明。

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By exploring these aspects of his legacy, I want to suggest that Cheung is a queer icon because – not in spite – of his ambivalence. Because he was never open or especially proud about gay identity or politics, because of his reluctance to be written into a “coming out” narrative, because of the sustained contradiction between this off-stage reluctance and on-stage/on-screen provocations, Cheung’s life and work tell a story that is much less about pride and courage, as the eulogies emphasized, than about negotiation and foreclosure. Thus it is a story that is much more poignantly parallel to the way many queer lives are lived in a cultural space like Hong Kong. More important, it is a story that is uncomfortably exposes the limits of the rhetoric of “courage” and “transgression” while challenging the certitude of identity politics. I believe that remembering, rather than forgetting, these contradictions will garner the late, great Leslie Cheung a more enduring and intimate place in our queer memory.

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通过对他身后的研究，我想表明，张国荣是酷儿的一个图像，因为他模棱两可的心理，尽管可能他自己也并未意识到。因为他从来没有公开或者特别自豪于自己的同志身份，因为他不愿意被写进“走出来”的叙述中，因为舞台下的不情愿与舞台上/银幕上的挑逗的持续矛盾，张的生活和工作告诉我们的，并非是像悼词里强调的，一个关于骄傲与勇气的故事，而更多的是谈判或排斥。因此，这也是一个尖锐地展现了生活在香港这样一个文化空间里酷儿们的生活方式的故事。更重要的是，这是一个不安地曝露了当挑战身份政治的确信性时“勇气”与“逾越”在修辞上的限制的故事。我相信，铭记，而不是遗忘，这些矛盾将在酷儿的记忆里为伟大的已故张国荣留存一块更加不朽而亲密的位置。

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The Uses of Gossip
In “Queering Body and Sexuality: Leslie Cheung’s Gender Representation in Hong Kong Popular Music,” Natalia Chan proposes to examine “the power and violence of Hong Kong’s media” through “Leslie Cheung’s lone battle of gender insubordination.”  Chan charges the media with two forms of attack: their negative coverage of Cheung’s suicide and their long-held obsession with exposing Cheung’s sexual identity.  It is certainly true that for over a decade the tabloid press had maliciously tried to bait and out Cheung, who, in turn, often expressed his impatience and outrage at such efforts. However, there are some problematic implications of the stark opposition that Chan sets up between Cheung’s queer transgression and the hostile and powerful media. Chan’s account overlooks the contradictory nature of Hong Kong’s Cultural space, which can be simultaneously hostile to and accepting of sexually adventurous expressions. Furthermore, it gives too much power to the media while eliding both the complex ways Cheung negotiated with the media through the arena of gossip and the form of queer agency that such gossip can unwittingly facilitate.

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八卦的运用

在“酷儿身体和性感：张国荣在香港流行乐中的性别代表”一文中，洛枫建议，通过张国荣性别反叛的孤军作战来研究香港媒体的权利与暴力。洛枫认为传媒的攻击有两种形式：对张自杀的负面报道以及长期以来对于张性身份的揭发。十多年来，小报记者恶意地试图引诱张出柜，是千真万确的，而张对此则常常表现出他的不耐烦和愤怒。然而，洛枫有意将张在酷儿身份上的僭越和敌对的、强大的传媒鲜明对立起来，这种暗示是有问题的。洛枫的叙述忽略了香港文化空间的复杂性，这种复杂性同时能够敌对和接受性别上的冒险表达。此外，洛枫的阐释也夸大了传媒的权利，而忽略了张通过台上的八卦与媒体谈判（周旋）的复杂方式以及八卦无意中促成的酷儿机构的形式。