【中英对照】GPT4翻译齐泽克锐评奥本海默、芭比等近期电影
来源：https://12ft.io/proxy?q=https%3A%2F%2Fwww.newstatesman.com%2Fthe-weekend-essay%2F2023%2F07%2Fbarbie-oppenheimer-fantasy-reality-truth-films
up主折射棱镜prisma的视频包含人工翻译：BV1Xu411372n
括号外为GPT4翻译。up略读了一遍，整体质量很好。对个别不清楚的地方加入了括号（up注），做了一些解释。
Barbie can’t handle the truth
芭比不能把握真相
Barbie and Oppenheimer show us how in the heart of the darkest realities we stumble upon fantasies.
芭比和奥本海默向我们展示了在最黑暗的现实中，我们是如何偶然发现幻想的。
By Slavoj Žižek
作者：斯拉沃·齐泽克
Denounced and ridiculed by critics, Indiana Jones and the Dial of Destiny – the fifth and final instalment in the franchise – nonetheless confronts one of the central problems of modernity: the separation of fantasy and reality.
虽然被评论家们斥责和嘲笑，但《印第安纳·琼斯与命运之盘》（up注：夺宝奇兵）——该系列的第五部也是最后一部——还是直面了现代性的一个核心问题：幻想和现实的分离。
Set in 1969, the story centres on Jones’s efforts to locate an ancient device – the Dial – believed to grant the power of time travel.
故事设定在1969年，围绕琼斯寻找一个古老装置——命运之盘——的努力展开，人们相信它有赋予时间旅行的能力。
Estranged from his wife, Marion, and depressed following the death of their son, Jones is assisted by his goddaughter Helena, as they are pursued by a new generation of Nazis who also seek the Dial.
琼斯与妻子玛丽安疏远，且在他们的儿子去世后陷入抑郁。他的教女海伦娜在他们被寻求命运之盘的新一代纳粹追赶时给予他帮助。
In the film’s climactic scene, Jones and Helena are transported back to the Siege of Syracuse in 212 BC, where they meet the astronomer Archimedes, who invented the time machine.
在影片的高潮场景中，琼斯和海伦娜被传送回公元前212年的锡拉库萨围城战，他们在那里遇到了发明了时间机器的天文学家阿基米德。
Believing that he has no life to return to in 1969 America, Jones wants to remain in the past, living amid a great historical moment.
琼斯认为他在1969年的美国没有可以返回的生活（up注：认为1969的生活算不上是生活），所以他想留在过去，在一个伟大的历史时刻中生活。
But Helena, refusing to give up on him, knocks Jones unconscious and returns with him to the modern world.
但是海伦娜拒绝放弃他，她将琼斯击昏并带他返回现代世界。
Waking up in his apartment, Indy is reunited with Marion, and they embrace as Helena walks away smiling.
琼斯在他的公寓中醒来，他和玛丽安重逢，他们在海伦娜微笑着离开时拥抱在一起。
This happy resolution, however, doesn’t quite conceal the bitter implications of the film’s conclusion. Forced out of ancient Greece, the hero-professor now faces a life of arid domesticity.
然而，这个欢乐的解决并不能完全掩盖影片结局带来的苦涩含义。被迫离开古希腊的英雄教授现在面临着枯燥的家庭生活。
Many of the reviewers’ most ferocious broadsides have been aimed at the character Helena (played by Phoebe Waller-Bridge), who has been variously presented as weird (measured against classic Hollywood standards of beauty and eroticism) or “woke”, a leading lady who undermines patriarchal clichés of feminine charm.
许多评论家们最猛烈的抨击都指向了海伦娜这个角色（由菲比·沃勒-布里奇饰演），她被形容为奇怪（以经典好莱坞的美和色情标准衡量）或者“觉醒”，一位破坏了女性魅力父权陈词滥调的女主角。（up注：一位破坏了传统父权中的女性魅力的女主角）
But Helena is neither a sex symbol nor an exemplar of woke attitudes towards gender: she simply introduces an element of everyday opportunism combined with basic goodness – a touch of what might be called actual life.
但海伦娜既不是性象征，也不是对性别有“觉醒”态度的典范：她只是简单地引入了日常机会主义和基本善良的元素——这可能被称为实际生活的一点触感。（up注：一种可能被称为真正的现实生活的触感）
The new Indiana Jones is really about Helena, a person from the real world who is drawn into the fantasy world of Indy’s treasure-hunting adventures.
新的《印第安纳·琼斯》真的是关于海伦娜的，她是一个来自现实世界的人，被吸引进了琼斯寻宝冒险的幻想世界。
As a variation on the Matrix theme of “welcome to the desert of the real” – that is, what happens when our protective illusions break down and we face the real world in all its stark brutality – Indiana Jones and the Dial of Destiny is part of a recent trend of films – Barbie, Oppenheimer, I’m a Virgo – in which the heroes venture between the real and the imaginary and the imaginary and the real.
作为“欢迎来到真实的沙漠”（up注：欢迎来到实在界的沙漠）这个《黑客帝国》主题的变体——也就是当我们的保护性幻觉破碎，我们面对现实世界所有的赤裸裸的残酷时会发生什么——《印第安纳·琼斯与命运之盘》是最近一种电影趋势的一部分——《芭比》，《奥本海默》，《我是处女座》——在这些电影中，英雄们在真实和虚幻以及虚幻和真实之间冒险。（up注：英雄们在实在界和想象界，以及想象界和实在界之间冒险，以下同。the real实在界，the imaginary想象界）
After being expelled from the utopian Barbie Land for being less-than-perfect dolls, Barbie and Ken embark on a journey of self-discovery to the real world.
被因为不是完美的娃娃从乌托邦的芭比乐园中驱逐出去后，芭比和肯踏上了自我发现的旅程，去往现实世界。
But what they find there is not some deep revelation of the self but the realisation that actual life is even more riddled with suffocating clichés than their own fantasy world.
但他们在那里找到的并不是关于自我深入的启示，而是认识到实际生活比他们自己的幻想世界更充满了令人窒息的陈词滥调。
The doll couple are forced to confront the fact that there isn’t just a brutal reality beyond Barbie Land, but that utopia is part of that brutal reality: without fantasies like Barbie Land, individuals would simply not be able to endure the real world.
这对娃娃夫妇被迫面对这样一个事实：在芭比乐园之外，不只有残酷的现实，乌托邦也是那种残酷现实的一部分：如果没有像芭比乐园这样的幻想，个体简直无法忍受现实世界。
Christopher Nolan’s Oppenheimer complicates this idea of venturing into reality. 克里斯托弗·诺兰的《奥本海默》复杂化了这种进入现实的冒险观念。
Its theme is not just the passage from the haven of academia to the real world of war – from the mind to the munitions dump – but how nuclear weapons (the fruits of science) shatter our perception of reality: a nuclear explosion is something that does not belong to our daily life. 其主题不仅仅是从学术的避风港到战争的真实世界的过渡——从思想到军火库，更是关于核武器（科学的成果）如何粉碎我们对现实的认知：核爆炸是我们日常生活中无法接触的事物。
Oppenheimer, a theoretical physicist, led the Manhattan Project, the team established in August 1942 that developed the atomic bomb for the US. 奥本海默，一位理论物理学家，领导了曼哈顿计划，这个团队成立于1942年8月，为美国开发了原子弹。
In 1954 the authorities subsequently branded him a Communist for his affiliation with groups working to slow nuclear proliferation. 1954年，由于他与致力于阻止核扩散的组织有所关联，他被当局标记为共产主义者。
While Oppenheimer’s stance was courageous and ethical, he failed to reckon with the existential implications of the device he created. 尽管奥本海默的立场是勇敢和道德的，但他未能理解他创造的装置的存在主义意涵。
In his essay “Apocalypse without Kingdom”, the philosopher Günther Anders introduced the concept of “naked apocalypse”: “the apocalypse that consists of mere downfall, which doesn’t represent the opening of a new, positive state of affairs (of the ‘kingdom’).” 在他的文章《没有王国的末日》中，哲学家君特·安德斯引入了“裸末日”的概念：“仅由衰败构成的末日，并不代表新的、积极的事态（'王国'）的开启。”
For Anders, a nuclear catastrophe would represent a naked apocalypse: no new kingdom would arise out of it, just the total obliteration of the world. 对于安德斯来说，一场核灾难将代表一场裸末日：它不会产生新的王国，只会彻底摧毁世界。
Oppenheimer couldn’t accept this nakedness, so he escaped further into Hinduism, which he had been interested in since the early 1930s, when he learned Sanskrit to read the Upanishads in the original. 奥本海默无法接受这种赤裸裸的末日，因此他进一步逃避到了印度教中，他从20世纪30年代初就对此产生了兴趣，那时他学习梵文以阅读原版的《奥义书》。
Describing his feelings after the first explosion of the atomic bomb in the Trinity test in New Mexico, Oppenheimer quoted from the Bhagavad Gita where Krishna tells Arjuna: “Now I become Death, the destroyer of worlds.” 在描述他在新墨西哥三位一体测试中原子弹第一次爆炸后的感受时，奥本海默引用了《薄伽梵歌》中克里希纳对阿琼的话：“现在，我成为了死亡，世界的毁灭者。”
While this is the line people most associate with Oppenheimer, he also quoted another passage from Gita: “If the radiance of a thousand suns were to burst at once into the sky, that would be like the splendour of the mighty one.” 虽然这是人们最常与奥本海默联系在一起的话，但他还引用了《薄伽梵歌》的另一段：“如果一千个太阳同时在天空中爆发，那就像强者的辉煌。”
The nuclear explosion is thus elevated into a divine experience. No wonder that, after the successful nuclear explosion, according to the physicist Isidor Rabi, Oppenheimer appeared triumphant: “I’ll never forget his walk; I’ll never forget the way he stepped out of the car… His walk was like High Noon … this kind of strut. He had done it.” 因此，核爆炸被提升为一种神圣的体验。难怪物理学家伊西多尔·拉比说，成功的核爆炸后，奥本海默显得胜利在望：“我永远不会忘记他的步态，我永远不会忘记他下车的样子……他的步态就像正午的阳光……这种洋洋得意。他做到了。”
Oppenheimer’s fascination with Gita thus belongs to the long tradition of attempting to ground the metaphysical implications of quantum physics in Oriental traditions. But Nolan’s film fails to show how the evocation of any kind of spiritual depth obfuscated the horror of a new reality created by science. 奥本海默对《薄伽梵歌》的着迷因此属于一种长期的传统，试图将量子物理的形而上学意涵根植于东方传统中。但是诺兰的电影未能展示出任何形式的精神深度如何使科学创造的新现实的恐怖变得模糊。
To effectively confront the “naked apocalypse” or cataclysm without redemption, the opposite of spiritual depth is needed: an utterly irreverent comic spirit. One should recall that the best movies about the Holocaust – Pasqualino Settebellezze (1974), Life is Beautiful (1997) – are comedies, not because they trivialise the Holocaust but because they implicitly admit that it is too crazy a crime to be narrated as a “tragic” story. 要有效地面对“裸末日”或无法挽回的灾难，我们需要的是与精神深度相反的东西（up注：我们需要的是精神深度的反面）：一个完全不敬的喜剧精神。人们应该记住（up注：人们应该记得、可以记起），关于大屠杀的最好的电影——《帕斯夸利诺·塞特贝莱泽》（1974），《美丽人生》（1997）——都是喜剧，并不是因为它们轻视大屠杀，而是因为它们隐含地承认，大屠杀是一种疯狂到无法以“悲剧”来叙述的罪行。
Is there a movie which dares to do this with the horrors and threats of today? I’m a Virgo (a miniseries by Boots Riley released in 2023) is the story of Cootie, a four-metre tall 19-year-old black man raised by his aunt and uncle in Oakland, California. 有没有一部电影敢于以这种方式处理今天的恐怖和威胁？《我是处女座》（2023年由布茨·莱利发布的迷你剧）是关于库迪的故事，他是一个四米高的19岁黑人男孩，由他的阿姨和叔叔在加利福尼亚的奥克兰抚养大。
The two guardians dedicate their lives to making sure that Cootie is safe and sequestered away. But raised on commercials, comics and pop culture, Cootie breaks into the world not as a tabula rasa but already brainwashed by the consumerist mass ideology. 两位监护人致力于确保Cootie的安全并隔离他。但是，Cootie在广告、漫画和流行文化中长大，他走向世界（时已经——up注）不是一张白纸，而是已经被消费主义的大众意识形态洗脑。
He awkwardly manages to make friends, get a job and find love, but soon discovers that the world is more sinister than it appears – Cootie acts as a catalyser, his entrance into our common social reality bringing out all its antagonisms and tensions (racism, consumerism, sexuality…). 他尴尬地设法交朋友、找工作和寻找爱情，但很快发现世界比看上去更险恶——Cootie起到了催化剂的作用，他进入我们共同的社会现实，激发出所有的对立和紧张（种族主义、消费主义、性欲（up注：性）……）。
And how does he do it? As a perspicuous critic for The Wrap noticed: “Don’t let the heavy themes fool you, I’m a Virgo is a comedy full of absolutely bonkers moments.” Riley uses the absurd to point out the obvious in real-life situations. “I’m attracted to large contradictions,” he told Wired. “The contradictions of capitalism – how it works – are going to echo through almost everything we do.” 他是怎么做到的呢？正如《环球》的一位敏锐的评论家注意到的：“别让沉重的主题愚弄你，'我是处女座'是一部充满疯狂时刻的喜剧。”莱利利用荒诞来指出现实生活情境中的明显事物。“我被大的矛盾所吸引，”他告诉《连线》。“资本主义的矛盾——它的运作方式——将在我们几乎所做的一切中产生共鸣。”
Therein resides Riley’s genius: the combination of two tragic facts (a giant freak thrown into our world; the basic antagonisms of global capitalism) produces sparkling comedy. The comic effect emerges because ideological fantasies and reality are not opposed: in the heart of the darkest realities we stumble upon fantasies. 正在此处，莱利的天才所在（up注：此处正是莱利的天才之处）：两个悲剧事实的结合（一个巨大的怪物被投入我们的世界；全球资本主义的基本对立）产生了闪亮的喜剧。喜剧效果的产生是因为意识形态的幻想和现实并不对立：在最黑暗的现实中，我们会偶然遇到幻想。
Perpetrators of horrible crimes are not diabolical monsters who courageously do what they are doing – they are cowards doing it to sustain the fantasy which motivates them. Stalinists killed millions to bring about a new society, and they had to kill millions more to avoid the truth that their Communist project was destined to fail. 可怕犯罪的实施者并不是勇敢地做他们所做的事情的恶魔——他们是为了维持激励他们的幻想而做这些事情的懦夫。斯大林主义者杀死了数百万人，以建立一个新的社会，他们必须杀死更多的人，以避免他们的共产主义项目注定失败的真相。
Most of us know the culminating moment of Rob Reiner’s A Few Good Men (1992) when the lawyer Daniel Kaffee (Tom Cruise) cross-examines the Colonel Nathan Jessep (Jack Nicholson) and declares, “I want the truth!”, and Jessep shouts, “You can’t handle the truth!” 大多数人都知道Rob Reiner的《A Few Good Men》(1992)中的高潮时刻，当律师Daniel Kaffee（汤姆·克鲁斯饰）盘问上校Nathan Jessep（杰克·尼科尔森饰）并宣称：“我要真相！”，而Jessep大喊：“你不能承受真相！”
This reply is more ambiguous than it seems: it should not be taken as simply claiming that most of us are too weak to handle the brutal reality of the world. If someone were to ask a witness about the truth of the Holocaust, and the witness were to reply, “You can’t handle the truth!”, this should not be understood as a simple claim that most of us are not able to process the horror of holocaust. 这个回答比看上去更有歧义：它不应该被简单地理解为声称我们大多数人都太弱，无法处理这个世界的残酷现实。如果有人问一个证人关于大屠杀的真相，而证人回答：“你不能承受真相！”，这不应被理解为大多数人无法处理大屠杀的恐怖的简单说法。
At a deeper level, those who were not able to handle the truth were the Nazi perpetrators themselves: they were unable to accept the fact that their society was traversed by the economic and social crises of the 1930s, and to avoid this troubling insight they engaged in a mass murder spree that targeted Jews – as if killing Jews would somehow miraculously re-establish a harmonious social body. 在更深的层面上，那些不能处理真相的是纳粹的犯罪者自己：他们无法接受他们的社会被20世纪30年代的经济和社会危机所穿越的事实，为了避免这个令人困扰的洞察，他们对犹太人进行了大规模的杀戮，好像杀害犹太人会以某种神奇的方式重新建立一个和谐的社会体。
And therein resides the final lesson of the stories about venturing from fantasy into reality: we do not only escape into a fantasy to avoid confronting reality, we also escape into reality to avoid the devastating truth about the futility of our fantasies. 这里包含了关于从幻想进入现实的故事的最终教训：我们不仅逃避到幻想中以避免面对现实，我们也逃避到现实中，以避免面对我们的幻想的徒劳的毁灭性真相。（up注：以避免那个毁灭性的（可怕的）真相，那个幻想实际上无用、徒劳的真相）
