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  • Translator: Robert Tucker Reviewer: Ariana Bleau Lugo

    譯者:羅伯特-塔克羅伯特-塔克 審稿人:Ariana Bleau Lugo

  • I'm going to speak to you today

    我今天要跟你說的是

  • about the importance of the dress

    衣服的重要性

  • and the complexity that a lot of women

    和很多女性的複雜性

  • in the history of women in professions

    女性職業史

  • have had with it.

    有與它。

  • And I've been thinking about this because of my research on Louise Bethune,

    而我'一直在思考這個問題,因為我對露易絲-貝圖恩的研究。

  • my work with Architect Barbie,

    我與建築師芭比的工作。

  • and also as a practicing architect.

    也是一名執業建築師。

  • I have come to see the dress as a symbol of power,

    我已經把這件衣服看作是權力的象徵。

  • and this power was invented here.

    而這種力量就是在這裡發明的。

  • So, December 18th marks the 100th anniversary

    所以,12月18日是100週年紀念日

  • of the passing of Louise Bethune,

    路易絲-貝修恩去世的消息。

  • America's first professional woman architect,

    美國'第一位職業女建築師。

  • and a fellow Buffalo gal.

    還有一個水牛城的女同胞

  • Bethune was like many professional women at the time,

    Bethune和當時許多職業女性一樣。

  • in that she faced the prejudice that men around her felt

    因為她面臨著周圍男人的偏見。

  • that she lacked the talent, the intellect,

    她缺乏天賦,智力。

  • and the business acumen for professional life.

    和職業生活的商業頭腦。

  • But Bethune also faced an additional prejudice,

    但貝索恩還面臨著另外一個偏見。

  • and that was in her dress.

    而這是在她的衣服。

  • You see architects in the late 1800's

    你看19世紀末的建築師們's

  • were expected to supervise construction,

    預計將對施工進行監督。

  • and because women were confined to wearing dresses at that time,

    而且因為當時的女性只能穿裙子。

  • it was believed by many that they lacked the ability to supervise construction.

    很多人認為,他們缺乏監督施工的能力。

  • But supervise construction Louise Bethune most certainly did,

    但監理施工路易絲-貝索恩肯定是這樣做的。

  • probably by wearing men's trousers underneath her dress.

    可能是通過穿男人'的褲子在她的衣服下面。

  • Bethune supervised at least a third of her firm's projects over her career,

    Bethune在她的職業生涯中至少監督了公司三分之一的項目'。

  • and in particular the Hotel Lafayette across the street.

    尤其是街對面的拉斐特酒店。

  • Bethune was also a founding member

    Bethune也是一個創始成員

  • of the Buffalo Women's Wheel and Athletic Club,

    的水牛城婦女'輪和運動俱樂部。

  • one of the first women's bicycling groups in the United States.

    是美國最早的婦女自行車團體之一。

  • Indeed, Bethune was the first woman in Buffalo to own her own bicycle.

    事實上,貝蘇恩是布法羅第一位擁有自己自行車的女性。

  • The Wheelers did a tremendous amount to support the suffrage movement.

    輪子們為支持普選運動做了大量的工作。

  • In fact, Susan B Anthony said that Wheelers had done more

    事實上,蘇珊-B-安東尼說,惠爾勒做的事情更多。

  • for the suffrage movement than anything else.

    對普選運動的貢獻比其他任何事情都大。

  • So, women continued to enter the architectural profession,

    於是,女性繼續進入建築行業。

  • and they continued to dress fashionably,

    他們繼續穿著時尚。

  • and by the Civil Rights era, and after, when they had reached critical mass,

    和到民權時代,以及在民權時代之後,當他們達到了臨界品質。

  • they were dressing mostly to suit themselves.

    他們的穿著主要是為了適合自己。

  • And, in general, they were wearing pantsuits --

    而且,在一般情況下,他們穿著褲裝 -

  • preferably in black.

    最好是黑色的。

  • Now, in 2011, I had the great opportunity to work with my friend and colleague,

    現在,在2011年,我有很好的機會與我的朋友和同事合作。

  • Despina Stratigakos,

    Despina Stratigakos,

  • professor at the UB School of Architecture and Planning,

    UB建築與規劃學院教授。

  • on the design and launch of Architect Barbie

    關於建築師芭比的設計和發佈

  • in collaboration with Mattel.

    與美泰合作。

  • It was the I-can-be career doll of that year.

    這是當年的我可以事業娃娃。

  • This doll was immensely popular among its target demographic:

    這種娃娃在其目標人群中非常受歡迎。

  • little girls.

    小女孩。

  • But there were some people in the profession who were critical.

    但也有一些業內人士提出了責備。

  • In general, I dismissed many of these comments, because comments like:

    總的來說,我否定了很多這樣的評論,因為這樣的評論。

  • "She doesn't wear enough black," and "She's got on too much pink."

    "她穿的黑色不夠多","她穿的粉色太多"。

  • "She isn't cool enough to be an architect."

    "她還不夠酷,不適合當建築師。"

  • All of those in my mind seemed superficial,

    所有這些在我看來都是膚淺的。

  • and they missed the point behind the project,

    他們錯過了項目背後的重點。

  • which was to spread awareness of architecture to little girls.

    這是為了向小女孩普及建築知識。

  • But there was one group, who criticized the project, that did give me pause,

    但有一個群體,他們責備這個項目,確實讓我感到不安。

  • and this was women of a certain age,

    而這是有一定年齡的女性。

  • those baby boomers and the generation before,

    那些嬰兒潮一代和之前的一代。

  • who had worked in the trenches and paved the way for Gen-Xers like me,

    他們在戰壕裡工作,為我這樣的X世代鋪平了道路。

  • and the generations that followed.

    以及之後的幾代人。

  • When women from that generation critiqued the project,

    當那一代的女性對這個項目進行批評時。

  • well, that did sadden me.

    好吧,這確實讓我很傷心。

  • Many of these women felt that the whole idea of Barbie

    這些婦女中的許多人都覺得,整個芭比娃娃的想法。

  • stood for every stereotype against which they had fought for so many years,

    代表了他們多年來所反對的每一種定型觀念。

  • and the fact that the doll was wearing a dress,

    和娃娃穿著裙子的事實。

  • well, no woman would wear a dress to work,

    好了,沒有女人會穿裙子上班。

  • especially on a construction site, and be taken seriously.

    特別是在施工現場,要認真對待。

  • So, I closed out 2011 with these two histories on my mind.

    於是,在2011年的最後,我懷揣著這兩段歷史。

  • First, the prejudice that Louise Bethune and her contemporaries experienced by men

    首先,露易絲-貝索恩和她的同齡人所經歷的男性偏見。

  • who said that because she was confined to a dress, she could not be an architect,

    她說,因為她被限制在衣服裡,所以她不能成為一名建築師。

  • and then contemporary women critiquing a doll in a dress,

    然後當代女性對一個穿裙子的娃娃進行點評。

  • and saying that that doll represented architects.

    並說那個娃娃代表建築師。

  • And then tragedy struck.

    然後悲劇就發生了。

  • On December 30, 2011, I woke up and I could not stand.

    2011年12月30日,我醒來後,我無法忍受。

  • By the end of the day, I was in a hospital ICU on a ventilator

    那天結束時,我在醫院的重症監護室裡,用呼吸機治療

  • and paralyzed from the neck down.

    並從脖子以下癱瘓。

  • I was diagnosed with GuillainBarré syndrome,

    我被診斷為吉蘭 -巴雷綜合症。

  • a neurological, autoimmune syndrome

    神經性自身免疫綜合症

  • that breaks the connection between the brain, the spine and the muscles.

    破壞了大腦、脊柱和肌肉之間的聯繫。

  • Most people survive GuillainBarré,

    大多數人在吉蘭-巴雷病中倖存下來。

  • however, of the few who do succumb,

    然而,在少數屈服的人中。

  • they do so because of complications with the ventilator -- which I was on.

    他們這樣做是因為呼吸機的併發症... ...而我當時正在使用呼吸機。

  • My case was particularly severe.

    我的情況特別嚴重。

  • It is a strange thing

    這是一個奇怪的事情

  • to go from being a vibrant, energetic person

    從一個朝氣蓬勃、精力充沛的人變得

  • in the prime of her life one day,

    在她生命中的某一天

  • to becoming an invalid on life support the next.

    變成一個靠生命維持的病人。

  • I can tell you that I was filled with deep despair.

    我可以告訴你,我當時充滿了深深的絕望。

  • However, this story has a happy ending as I stand here before you,

    然而,這個故事有一個美好的結局,因為我站在這裡,在你面前。

  • (Laughter) (Applause)

    (笑聲) (掌聲)

  • but there were moments, I'll be honest,

    但也有一些時候,我'會說實話。

  • when the complications with the ventilator took place,

    當呼吸機的併發症發生時。

  • and I thought that those moments, I was going to die.

    我以為那些時刻,我就要死了。

  • However, miraculously, glacially, incrementally, I began to recover,

    然而,奇蹟般地,冰川般地,漸漸地,我開始恢復了。

  • and when I finally got off the ventilator,

    而當我終於離開了呼吸機。

  • I was able to push my body to make those neurological connections,

    我能夠推動我的身體去建立這些神經系統的聯繫。

  • so I could learn how to walk and talk and feed myself.

    這樣我就可以學習如何走路和說話,養活自己。

  • My recovery was isolating and, at times, painful,

    我的康復是孤立的,有時也是痛苦的。

  • but, in general, I was so glad to be alive,

    但是,總的來說,我很高興能活著。

  • and I was desperate to get back to being the old Kelly.

    我急切地想回到以前的凱利。

  • You see, 2011 had been the most fulfilling of my career,

    你看,2011年是我職業生涯中最充實的一年。

  • an I so much wanted to be that person again.

    我很想再次成為那個人。

  • On March 16th, 2012, I was released from hospital,

    2012年3月16日,我出院了。

  • and when I began to make occasional public appearances,

    而當我開始偶爾公開露面時。

  • especially the rare professional appearance,

    尤其是難得的專業外觀。

  • I desperately wanted to seem strong and in control,

    我極力想讓自己看起來很強大,很有控制力。

  • even though, as you can see, I was often in a wheelchair,

    儘管你可以看到,我經常坐在輪椅上。

  • I was frightfully thin,

    我瘦得嚇人。

  • and I needed my husband's assistance for the basic of skills.

    而我需要我丈夫的幫助,以獲得基本的技能。

  • So, I remember saying to my speech therapist,

    所以,我記得我對我的語言治療師說,

  • I'm an architect, I work in a male-dominated profession,

    我'是一個建築師,我在一個男性主導的行業工作。

  • I am often the only woman in a meeting,

    我常常是會議中唯一的女性。

  • I cannot sound like a Looney Tunes character.

    我的聲音不能像 "瘋人院 "裡的人物。

  • And so also one of the most salient concerns I had was what to wear.

    所以也是我最突出的一個問題,就是穿什麼衣服。

  • Because I needed something that looked professional,

    因為我需要一些看起來專業的東西。

  • yet at the same time I could manage on my own.

    但同時我又可以自己管理。

  • Now, I have always loved the dress.

    現在,我一直很喜歡這件衣服。

  • My husband will tell you,

    我丈夫會告訴你的

  • for every occasion I have a little black dress,

    每一個場合我都有一件小黑裙。

  • accompanied by a little red dress, a blue dress, a red dress --

    伴隨著小紅裙,藍裙,紅裙 --

  • I have all the dresses.

    我有所有的衣服。

  • However, I also had an arsenal of suits, power suits,

    不過,我也有一個西裝庫,動力裝。

  • that I would wear to meetings when I wanted to own the room.

    當我想擁有這個房間時,我就會穿著它去開會。

  • The problem, as you may have noticed, is that my hands haven't recovered.

    問題是,你可能已經注意到了,我的手還沒有恢復。

  • They may never recover.

    他們可能永遠不會恢復。

  • Zippers are difficult: buttons are impossible.

    拉鍊是困難的:鈕釦是不可能的。

  • I needed something that I could wear to work,

    我需要一些可以穿去上班的東西。

  • that I could manage on my own, if I was going to be in control.

    我可以自己管理,如果我要控制。

  • So, I wore dresses.

    所以,我穿了裙子。

  • I wore dresses for fun, I wore dresses for play and parties,

    我穿裙子是為了好玩,我穿裙子是為了玩耍和聚會。

  • I wore dresses to work,

    我穿裙子去上班。

  • I even wore dresses on the construction site.

    我甚至還在工地上穿了裙子。

  • And I have since redesigned Architect Barbie --

    我已經重新設計了建築師芭比娃娃...

  • (Applause)

    (掌聲)

  • -- to look like a certain architect and, I know, complete in power dress.

    -- 看上去像個建築師 我知道 穿著權貴的衣服就可以了

  • And I think she looks great.

    而且我覺得她看起來很不錯。

  • But what is a power dress?

    但什麼是動力裝?

  • Well, in 1977, John T Malloy

    1977年,John T Malloy

  • published the groundbreaking book "Dress for Success."

    出版了開創性的 "為成功而穿衣 "一書。

  • And it was from that book that came the idea of the the power suit.

    正是從那本書中,才有了動力裝的想法。

  • And that power suit was meant

    而那件動力裝是為了

  • for the wearer to convey strength, leadership and skill.

    為佩戴者傳遞力量、領導力和技能。

  • The power dress does the exact same thing: Allows the wearer to present strength.

    力量裝的作用完全一樣:可以讓穿戴者呈現力量。

  • For Louise Bethune the society of Gilded Age America

    對路易絲-貝圖恩來說,美國鍍金時代的社會。

  • dictated that she be confined to a dress.

    決定了她只能穿裙子。

  • And then those around her,

    然後她身邊的人。

  • who either lacked imagination or were threatened by a strong woman,

    他們要麼缺乏想象力,要麼受到強勢女人的威脅。

  • used that dictate to limit her abilities

    她的能力受到了限制

  • in terms of her career ideas and other freedoms.

    在她的職業理念和其他自由方面。

  • But the power behind Louise Bethune was in demanding equality despite the dress.

    但露易絲-貝索恩背後的力量在於,儘管穿著打扮,卻要求平等。

  • And the fact that she wore a dress on a construction site, and on a bicycle,

    還有她在工地上穿裙子,騎自行車的事實。

  • challenged the people around her to rethink what a woman in a dress can do.

    挑戰了她周圍的人,讓他們重新思考一個穿裙子的女人能做什麼。

  • Architect Barbie's costume by any adult standard is not a power dress.

    建築師芭比'的服裝按任何成人標準都不是權力的衣服。

  • But that dress is not intended for an adult audience;

    但那件衣服不是給成年觀眾看的。

  • it is intended for a 7-year-old girl.

    它的目的是為一個7歲的女孩。

  • And the power behind Architect Barbie is in the message:

    而建築師芭比背後的力量在於資訊。

  • I can be.

    我可以是。

  • That is: I can be anything I want to be and wear the dress,

    那就是。我可以成為任何我想成為的人,並穿上這件衣服。

  • or my value is in how I see myself, not how others see me.

    或者說我的價值在於我如何看待自己,而不是別人如何看待我。

  • Indeed, the message behind Louise Bethune, and Architect Barbie,

    事實上,路易絲-貝索恩以及建築師芭比背後的資訊。

  • is that I'm good enough to be what I choose.

    是我'夠好,是我選擇的。

  • And as for me, well, I identify with both Louise Bethune and Barbie.

    而對於我來說,好吧,我同時認同路易絲-貝特恩和芭比娃娃。

  • At this point in my life and my career,

    在我人生和事業的這個階段。

  • I'm limited in certain choices because of my disability.

    我'因為我的殘疾,在某些選擇上受到限制。

  • But, as I emerge from my cocoon,

    但是,當我作繭自縛的時候。

  • I'm able to pursue my professionalism with grace and dignity,

    我'能夠優雅而有尊嚴地追求自己的職業精神。

  • because of the dress,

    因為衣服的緣故。

  • and the lessons I have learned from Louise Bethune and Architect Barbie.

    以及我從Louise Bethune和建築師Barbie身上學到的經驗。

  • We three, all blondes, I might add,

    我們三個,都是金髮碧眼,我可以補充一下。

  • and the power dress were invented here in Buffalo, New York.

    和動力裝是在紐約的布法羅發明的。

  • Thank you very much.

    非常感謝你。

  • (Applause)

    (掌聲)

Translator: Robert Tucker Reviewer: Ariana Bleau Lugo

譯者:羅伯特-塔克羅伯特-塔克 審稿人:Ariana Bleau Lugo

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B1 中級 中文 美國腔 建築師 裙子 芭比 衣服 娃娃 女性

【TEDx】有威力的裙子 TED (The power dress: Kelly Hayes-Mcalonie at TEDxBuffaloWomen)

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