雙語揭秘：高跟鞋原來是男士們專屬,？

冬咚

如果你做的某件事取得了成功,，你會用什么手勢來表示勝利？表示victory的剪刀手嗎,？這好像還不足以表達你的興奮之情,。那么，就一起來“揮拳慶祝”吧,。

英語熱詞：成功時的“揮拳慶�,！盿ir punch

這種慶祝方式在英文中叫air punch，字面意思就是對著空氣揮拳,，其實就是我們常見的一種表達勝利的手勢,。

我們來看看權威的牛津詞典和劍橋英語(精品課)詞典是怎么定義air punch的。

牛津詞典解釋：

Air punch is an act of thrusting one’s clenched fist up into the air, typically as a gesture of triumph or elation.

劍橋英語詞典解釋：

Air punch is an act of hitting upwards with your fist to show that you are happy because you have been successful.

總的來說,，air punch就是指向上揮舞著攥緊的拳頭慶祝勝利或者表達興奮之情,，我們稱之為“揮拳慶祝”,。

For example:

There were air punches as he holed the ball.

他進球以后,，旁邊都是揮拳慶祝的人。

The verdict was greeted with cheers and air punches by her family and friends.

她的家人和朋友為這個判決結果歡呼,，并揮拳慶祝,。(中國日報網)

冬咚

By the 19th century, the invention of photography, and its immediate adoption by pornographers, established the curious convention of depicting women stripped of their clothing with the exception of their shoes.

　　到19世紀，攝影術的發(fā)明及其在色情作品中的迅速普及,，催生了一種古怪的慣例：描繪除了鞋子之外不著其他衣物的女性,。

　　The heel also retained its associations with female irrationality. As one anti-suffrage agitator wrote in The New York Times in 1871, “Suffrage! Right to hold office! Show us first the woman who has ... sense and taste enough to dress attractively and yet to walk down Fifth-avenue wearing ... a shoe which does not destroy both her comfort and her gait.”

　　高跟鞋仍然保持著與女性非理性形象之間的聯(lián)系。一個反對女性參政的煽動者,，在1871年的《紐約時報》上寫道：“選舉權,！擔任公職的權利！先讓我們看看,，哪個女人有足夠的理性和品味,，穿著讓她舒適，又不破壞步態(tài)的鞋子,，風姿綽約地走過第五大道,。”

　　With all this baggage weighing down high heels, it’s no wonder they couldn’t gain a foothold in men’s fashion — even when men’s stature became a cultural focus in the early decades of the 20th century. Pseudoscientific ideas promoted Darwinian concepts of survival of the fittest and linked male height directly to sexual attractiveness. Heels could have been pressed back into service in men’s fashion, yet they were rejected. Heels on men detracted from their masculinity by highlighting a natural lack of height, rather than conferring any advantage gained from artificially increased stature.

　　高 跟鞋被這種種包袱所拖累,，難 怪無法在男士時裝中擁有一席之地——即使在20世紀最初幾十年,，男人的身高成為一個文化焦點的時候。一些偽科學觀念引入達爾文優(yōu)勝劣汰概念,，把男性身高和 性吸引力直接聯(lián)系起來,。高跟鞋本有可能回到男士時裝界，但遭到了他們的拒絕,。男人穿著高跟減損了他們的陽剛之氣,，突出了天生的身高不足，人為增加的身高不 會賦予他們任何優(yōu)勢,。

　　High heels on women, however, remained the cultural norm. Even when heels temporarily went out of fashion, they retained a prominent place in erotica. At the conclusion of World War II, this association led to the invention of the stiletto. The exceptionally thin heels depicted in wartime pinup art were made reality in the early 1950s and real-life women were encouraged to emulate those pinup ideals. Marilyn Monroe — alluring, playful and invariably stiletto shod — became one of the principal feminine archetypes of the period.

　　然 而,，女性穿著高跟鞋仍然是一種文化規(guī)范,。即使在時裝領域，高跟鞋會暫時過氣,，在情色領域,，它也始終屹立不倒。第二次世界大戰(zhàn)結束后,，這種聯(lián)系催生了細高跟 鞋的發(fā)明,。戰(zhàn)時美女招貼中細到極致的高跟鞋，在50年代初成了現(xiàn)實,，社會鼓勵現(xiàn)實生活中的女性去模仿那些畫報女郎,。誘人、頑皮,，總是穿細高跟鞋的瑪麗蓮· 夢露(Marilyn Monroe),，成為了這一時期女性的典型形象,。

　　By the 1960s, the high heel fell somewhat from favor; too “mature” for the Youthquake style revolution and too problematic for emerging feminists. It returned to fashion in the 1970s, perfectly in tune with the disco era (when some men did allow heels back into their wardrobe, too).

　　到 了20世紀60年代,，高鞋跟變得不那么受青睞了；對于“青年風暴”(Youthquake)的風格革命而言,，它太“成熟”,；而對新銳女權主義者來說，它又 太容易惹麻煩,。到70年代,，高跟鞋重新流行起來，與那個迪斯科時代完美契合（高跟鞋當時也確實出現(xiàn)在了一些男性的衣柜中）,。

　　In the 1980s, as unprecedented numbers of women entered the white-collar workplace, climbing the corporate ladder was perceived as socially risky — it could strip a woman of her desirability. High fashion offered an antidote: Toweringly high “killer heels” that insinuated that business acumen alone was not the reason for women’s success. By the early 2000s, designer heels were perceived as “power tools” — as one Times story called them — to be used, like lingerie, by professional women to manipulate people through the “power” of sex appeal, an idea that continues to resonate to this day.

　　上 世紀80年代,，前所未有的大批女性進入職場，事業(yè)心太強開始被認為是社交生活的不利因素——它可能會讓女性不招人喜歡,。高端時尚提供了一個對策：高聳入云 的“致命高跟”,。它可以旁敲側擊地告訴對方，女性的成功并非只是因為她的商業(yè)頭腦,。本世紀初,，設計師版的高跟鞋被認為是“影響力工具”——時報的一篇報道 也曾使用這種說法——職業(yè)女性利用高跟鞋，通過性感的“力量”來操縱他人,，這個想法在今天仍然會得到認同,。

　　Linking sex appeal to power also clearly suggests that women have a very short window of opportunity for when they can be seen as powerful. The common comment about the Cannes debacle — that a handful of middle-aged women in flats were turned away — illustrates this issue. In an apologist manner, this observation seemed to suggest that perhaps if these women hadn’t been so aged they wouldn’t have worn sensible shoes. Never mind what accomplishments or connections brought them to the festival.

　　性 魅力與影響力之間的關聯(lián)還可以清晰地表明，女性一生中只有很短暫的一段時間可以顯得富有權力,。對于今年戛納電影節(jié)上的事故——少數(shù)穿著平底鞋的中年女性被 拒絕入場——的普遍看法就突顯了這個問題,。雖然帶有道歉的姿態(tài)，但這種觀點似乎在暗示,，或許如果這些女性不這么老,，就根本不會去穿舒服的平底鞋,，無論她們 是憑借什么成績或關系來參加慶典的。

　　This is the ultimate problem with sexual allure as a purported means to power: The power lies in the eye of the beholder, not the beheld.

　　這就是把性誘惑力視作影響力工具要面對的終極問題：你是否有影響力取決于觀察者的主觀看法,。

　　If the argument for heels is that they are part of traditional attire for women, that is not wrong. The body-revealing gowns and barely there footwear worn by women on the red carpet have direct links to 18th-century ideas on gender, 19th-century pornographic images and midcentury concepts of a woman’s place in society.

　　如果倡導穿高跟鞋的人聲稱它屬于女性的傳統(tǒng)服飾,，這也一點沒錯。暴露的禮服和藏在裙子下的鞋子與18世紀的性別觀,、19世紀的色情圖片,，以及上世紀中葉的女性社會地位有著直接的關系。

　　Perhaps it is a tradition we can upend in the 21st century, when it should be clear that a woman’s power has nothing to do with the height of her heel.

　　或許我們可以在21世紀顛覆這個傳統(tǒng),，因為我們現(xiàn)在都清楚,，女性的影響力與鞋跟的高度無關。（愛語吧）