So for the last few weeks, we've been talking a lot about Dystopias, imaginary societies gone wrong.

前面幾周，我們講到很多反烏托邦和變調的幻想國度

Like George Orwell's "1984" is a world of war, surveillance, and mind control.

像是 George Orwell 的 1984 是關於世界大戰、監視和精神控制

"The Handmaid's Tale" portrays a toxic landscape in which healthy women are forced to produce offspring for the ruling class.

《侍女的故事》講述了一個受汙染的世界，健康的婦女被迫為管理階層的人受孕

"Candide" showed us the best of all possible worlds, which was terrible.

《憨第德》向我們展示了所以未來世界中最好的結果，但卻很糟糕

And "Parable of the Sower" takes place in an alternate universe where a sloganeering, strongman president presides over a country,

而《撒種的比喻》發生在多重宇宙，一個注重口號的強權總統統治著國家

experiencing intense social disorder thanks to climate change. Fortunately none of that stuff has happened, yet,

因為氣候變遷經歷了嚴重的社會混亂。幸運的是，這些都還沒發生

But today we're gonna talk about our final dystopia of the series, "The Yellow Wallpaper" by Charlotte Perkins Gilman

但今天我們要談談我們的系列反烏托邦的最終章：由 Charlotte Perkins Gilman 寫的《黃壁紙》

And it's about a dystopia that already happened.

這是關於已經發生的反烏托邦

First published in 1892 in the New England magazine, this story is less of a "what-if" dystopia

首次出版於 1892 年的新英格蘭雜誌，這個故事不是一個「假設」的反烏托邦

then a "this is happening to me" call to action.

而是「這正發生在我身上」的一個呼籲

So at first glance the life that Gilman describes in this story might not seem that bad, a young

第一眼看下來，Gilman 在這個故事中所描述的生活可能並不那麼糟糕

woman is married to a doctor and spends all of her time in a country mansion, and I mean all of her time.

一個年輕的女性嫁給一個醫生，並她把所有的時間都花在一個鄉村宅邸裡，我的意思是她所有的時間

But make no mistake about it. The social order in this story is in some ways as oppressive as the others that we've examined.

但不要搞錯。這個故事中的社會秩序在某些方面與我們研究過的其他方式一樣壓抑

Gilman's narrator is imprisoned within her marriage and her social order and also her house.

Gilman 的旁白被監禁在她的婚姻、社會秩序以及她的房子裡

And she eventually goes insane trying to preserve her perspective. Today

最後，他因為為了保持自己的理智而發瘋了

I want to talk about Gilman who was a feminist, humanist, sociologist, novelist, poet, and essayist.

今天，我想談論 Gilman，他是一位女權主義者、人道主義者、社會學家、小說家、詩人和散文家

I also want to talk about perspectives on mental health, and how they've changed between Gilman's era and ours, and of course

我還想談談精神狀態的觀點，以及他們如何在 Gilman 的時代和我們的時代之間發生變化，當然還有

I'm gonna talk about yellow wallpaper. Soon enough you're gonna see it everywhere.

我會討論黃壁紙，很快的，你就會到處看到它

(Intro music plays)

(入場音樂)

(music fades)

(音樂消逝)

So Charlotte Perkins Gilman had a fascinating life.

Charlotte Perkins Gilman 有個很精采的人生

She was born in Hartford,

她 1860 年出生於康涅狄格州的哈特福特

Connecticut in 1860 and she lived with her mother and brother, after her father

在她的父親拋棄他們的家之後，她與母親還有兄長一起住

abandoned the family, and although she moved from school to school her childhood was really

雖然她的童年時常轉學，但她的家庭卻很富有

intellectually rich, largely because of her three brilliant and famous

大部分是因為她三個精緻且知名的阿姨

aunts: Isabella Beecher Hooker, suffragist and abolitionist, Harriet Beecher Stowe, best-selling author of Uncle Tom's Cabin, and Katharine Beecher,

Isabella Beecher Hooker 女權主義者和廢奴主義者、Harriet Beecher Stowe 《湯姆叔叔的小屋》和《凱瑟琳比徹》的暢銷書作家

education reformer and advocate for Native American rights. With some financial help from her Ne'er-do-well father, Charlotte enrolled in design school. Later

還有 Katharine Beecher 教育改革者和原住民權利的倡導者。在她那不盡責的父親的資金幫助下，Charlotte 就讀於設計學院。後來

she supported herself by illustrating advertising cards and tutoring so, you know, she did know something about wallpaper

她用畫廣告看板還有家教來支撐自己，所以，你也知道她的確知道壁紙的圖案

patterns. In 1884 she married Charles Walter Stetson and gave birth to a daughter,

在 1884 年她嫁給了 Charles Walter Stetson 並養育了一個女兒 Katherine

Katherine, and in the years after her daughter's birth Charlotte experienced a series of what were called at the time

在她女兒出生後的幾年裡，Charlotte 經歷了被當時稱作

"Nervous-Disorders". In 1887 she visited a specialist who encouraged her to try a "rest cure",

「精神失調」的症狀。在 1887 年她拜訪了一個專科醫生，他鼓勵她嘗試用「靜養」

and this involved living as domestic a life as far as possible having

這涉及到盡可能地在家中生活

but two hours intellectual life a day, and never touching pen, brush, or pencil

但是，每天兩個小時的知性的生活，她不可以碰筆、畫筆或是鉛筆

again. After three months of this so-called treatment

在經歷了這個治療方式的三過月後

she quote "came so near to the borderline of utter mental ruin, that I could see over."

她說到「 如此接近絕對的精神毀滅的邊界，我可以看穿了」

Gilman wanted to warn others of the dangers of this rest cure and her story she explains was not intended to drive people crazy,

Gilman 想要警告別人這種治療方法的危險性，她說她的故事不是為了讓人瘋狂

but to save people from being driven crazy, and it worked.

而是為了拯救人們免於瘋狂，而它起作用了

We'll get to that working bit in a second,

我們稍後會講到

but back to her life. So in 1888, Charlotte left her husband and took Katherine with her to Pasadena,

但是，回到她的生活。在 1888 年 Charlotte 帶著 Katherine 離開她的丈夫去到加州的帕薩迪納

California. Her professional life flourished. She organized social reform movements. She represented California at the suffrage convention in Washington DC.

她的職業生涯蓬勃發展。她組織了社會改革運動。她代表加州參加華盛頓特區的選舉權大會

She became a lecturer and edited a series of

她成為了講師並編輯了一系列的雜誌

magazines. She also wrote essays, poems, a novella, and by far her most famous story, "The Yellow Wallpaper."

她也寫文章、詩詞和短篇小說，還有她目前最出名的《黃壁紙》

Much of her work focused on women's unequal status in marriage and their need for financial independence.

她的大部分的作品都集中在婦女在婚姻中的不平等地位以及她們對經濟獨立的需求上

And she achieved financial independence and also an equal marriage in her second marriage.

她在第二次婚姻中實現了經濟上的獨立和平等的婚姻

Eventually she was diagnosed with breast cancer and as she had lived on her own terms,

最終，她被診斷出患有乳腺癌。而因為她想按照自己的想法生活

she also died on her own terms.

她選擇用自己的方式死亡

She was an advocate of euthanasia, and she chose chloroform over cancer, committing suicide in 1935.

她是安樂死的倡導者，她選擇氯仿治療癌症，並於 1935 年自殺

I wanted to focus a little on Gilman's life story to emphasize that this was a person who experienced severe, disabling

我想更強調 Gilman 的生平，好去強調這是一個一個經歷過嚴重的且致殘的精神疾病的人

mental illness and whose treatment ended up making it much worse

而他的治療最終使情況變得更糟

and yet who still went on to live a long, fulfilling, and productive life.

然而，她然過著長壽、充實且豐富的人生

I think it's really helpful to read "The Yellow Wallpaper" with that background. As for the story itself, well,

我認為閱讀具有該背景的《黃壁紙》會很有幫助，至於故事本身

Let's go to the thought-bubble. "The Yellow Wallpaper" is the

我們透過想法泡泡來說吧。《黃壁紙》是

first-person narrative of a 19th century woman

第一人稱訴說十九世紀一位女性

suffering from a mental breakdown after giving birth. In a secret diary this narrator describes her setting ,"a colonial mansion, a hereditary

分娩後經歷了精神崩潰。在一本秘密日記中，這位旁白描述了她的環境。一個家傳的殖民風格的宅邸

estate, I would say a haunted house, and reach the height of romantic felicity--

我會說是個鬼屋，這可以說是最浪漫的事

But that would be asking too much of fate!" This narrator is confined to a room with barred windows.

但這對命運的要求來說太奢侈了！這位旁白被關在一個窗子被欄杆圍著的房間

It's possible that she's in an asylum,

很有可能她在一個精神病院裡

But the physical setting is less important than another landscape, the shifting consciousness of her mind.

但是，這些外在環境相較於另一點較不重要，就是她思想意識的改變

The narrator knows that she perceives reality differently from her husband, who is also her doctor. At first

旁白知道她對現實的看法與身為她的醫生的丈夫不同

She chalks this up to the expected difficulties of male-female relations. "John," she writes, "laughs at me of course,

她將此歸結為男女關係所能預見的困難。「John」她寫到，「想當然耳地嘲笑我」

But one expects that in marriage." This expectation of marriage is of course troubling in its own right,

「但這能在婚姻中預期得到」。 這種對婚姻的期望當然是令人不安的

But there's an even darker side to their dynamic, John has almost complete control over his wife's body. The narrator's descriptions may be at times

但是他們之間的互動更加黑暗，John 幾乎完全控制了他妻子的身體。旁白的描述可能有時

unreliable, but there are a few things we do know: she recently had a baby,

並不可靠，但是有幾點我們必須知道：她剛生完了孩子

She recognizes that she is sick,

她知道自己生病了

John belittles her saying that she suffers from a temporary nervous depression, a slight hysterical tendency. Meanwhile

John 輕視她聲稱自己患有短暫的精神抑鬱症，這是一種輕微的歇斯底里的傾向

he prescribes her a scheduled prescription for each hour in the day of phosphates or

他為磷酸鹽或亞他為她開出了每天每小時吃磷酸鹽或亞磷酸酯的處方

Phosphites, the narrator doesn't know which, and a regime of tonics, and journeys, and air, and exercise.

旁白搞不清楚是哪個，同時還給他吃補品、旅行還有享受大自然和運動的處方

Also, John forbids his wife from writing,

同時，John 禁止他的妻子寫作

working, or socializing and it quickly becomes clear that these so-called cures are

工作或是社交，而很明顯的這些宣稱的療程

exacerbating the narrator's condition as she is left with very little to do except stare at the yellow wallpaper.

惡化了旁白的狀況，因為除了盯著黃色的壁紙外，她幾乎沒有什麼可做的

Thanks thought-bubble. So today

謝謝想法泡泡，所以今天

We would probably say that the narrator is experiencing postpartum depression and/or postpartum psychosis.

我們可能會說敘述者正在經歷產後憂鬱症和或產後精神病

These are conditions that can result from a drop in hormones like estrogen and progesterone and are

這些是由雌激素和黃體酮等激素下降引起的情況

intensified by the two central experiences of new parenthood, sleep deprivation

而這會因為兩大原因而加劇：身為新生父母的身份、失眠還有焦慮

and anxiety. Postpartum psychosis can include the depressive symptoms of postpartum depression along with confusion, disorientation,

產後憂鬱症包括憂鬱症症狀，伴隨著憂慮、困惑

Hallucinations, and paranoia. Today these conditions would be treated with medication and therapy and other medical interventions,

幻想和偏執。這些病症將通過藥物治療和其他醫療來治療

But whatever treatment John gives his wife in "The Yellow Wallpaper"

但在《黃壁紙》裡，John 給他老婆的治療

definitely does not work. If Gilman's story were an argument this line from it would be its thesis, "John is a physician,

絕對不見效。如果 Gilman 的故事是一個論證，那麼這段話就是它的論點：「John 是個醫生」

Perhaps that is one reason I do not get well faster."

「也許這就是為什麼我沒有馬上病癒」

Admittedly the 19th century wasn't a golden age for psychiatry,

不可否認的是，19 世紀不是精神病學的黃金時代

But even so, John is

即使如此， John

exceptionally bad at treating mental illness. At the start of the story Gilman's narrator craves more society and

仍在治療精神疾病方面異常糟糕。 在故事的開頭，Gilman 的敘述者渴望更多的

stimulus. She writes that she must say what I feel and think in some way.

社交和際遇。她寫道，她必須以某種方式說出自己的感受和想法

Forbidden from communicating with a living soul she secretly

被禁止與人交談，他偷偷地

confesses her thoughts to dead paper in a journal and in her writing

向日記中無生命的紙張闡述自己的想法

She projects her mental disintegration onto the patterns that she sees on the walls.

她將自己的精神分裂投射到她在牆上看到的圖案上

"I never saw worse paper in my life,"

「我一生中從未看見更醜的壁紙」

She writes, explaining that it contains "one of those sprawling

他一邊寫一邊解釋壁紙有著「蜿蜒且誇張華麗圖案」

flamboyant patterns committing every artistic sin." Still she finds this pattern compelling: "it is dull enough to confuse the eye and following,

「但卻像是在觸犯著藝術的罪虐一樣」然而他仍發現這圖案很吸引人。「他卻平淡的足以混淆視線去追隨它」

Pronounced enough to constantly irritate and provoke study...

「明確且不斷地讓人不快卻又好奇地去研究它」

And when you follow the lame uncertain curves for a little distance

「當你沿著它無趣且不完整的曲線一會兒」

They suddenly commit suicide -- plunge off at outrageous angles, destroy themselves in unheard of

「它們卻忽然自縊了， 以驚人的角度跳下，在聞所未聞的情況下摧毀自己」

contradictions." Of course this also describes the narrator's interior landscape

當然，這描述了旁白的內心想法

But it also describes the story, right? Like initially her narrative seems dull.

但這也描述了整個故事，對嗎？就像他一開始的論述看起來很無趣

I mean plot summary woman stares at wall. But then it becomes confusing the wallpaper seems to be moving

整個故事只是講一個女人盯著牆。但隨後它變得令人困惑，壁紙似乎正在移動

We aren't sure where this narrator is or if we can trust her and then something becomes

我們不確定這個敘述者在哪裡，或者我們是否可以信任她，接著，某種東西

pronounced enough to provoke our further study. Are these romantic descriptions of a house, a delicious garden,

變得足夠吸引我們去做更多的研究，這些對於房子浪漫的描述還有美麗的花園

Or it's tattered decor? Are they intimate descriptions of a failing marriage, the desire for connection, or are they veiled

還有破爛的裝飾，他們是不是影射他們失敗的婚姻，或是對這段關係的渴望，還是

suicidal musings, or maybe they're attempts to find a meaning in an extremely limited

自殺的幻想？又或著，這是他們想在這有限的經驗裡找到意義

experience, like Offred opening her hand in the sunlight in "The Handmaid's Tale."

就像 Offred 在《侍女的故事》將手掌放在陽光中一樣

I've always been fascinated by how the narrator tries to understand her situation in terms of principles of design,

我一直著迷於旁白如何運用設計的原理去了解自己的狀態

Like after she studies one breath or strip of wallpaper she concludes that its pattern is "not arranged on any laws of

就像當他研究一條壁紙時，他總結這花紋是「沒有依照任何」

radiation, or alternation, or repetition, or symmetry, or

「放射圖樣、交替、重複、或對稱」

anything else that I ever heard of." I think anybody who's experienced mental illness can relate to that. For her each of these breaths

「或任何我聽過的方式設計」我認為任何經歷過精神疾病的人都可以感同身受。換句話說，對她而言

exists as an isolated column of fatuity, in other words

他的存在就是個孤立的愚蠢存在

It's meaningless. A pattern only emerges when she considers the strips next to one another

他是無意義的。只有當她認為彼此相鄰的條紋

dim shapes appear to resemble a woman stooping down and creeping about behind that pattern. The wallpaper also

看起來像一個女人一個彎下腰且匍匐在壁紙後面時，這圖案才會出現

changes as the light changes. At night the woman in the wallpapers captivity behind bars becomes as plain as can be,

燈光改變時，壁紙也跟著改變。晚上，壁紙裡的女人被囚禁在欄杆後面，看起來平淡無奇

So of course does the narrator's own captivity. And also wait hold on full disclosure

想當然耳，這是敘述者自己被囚禁了。接著我們會好好地解釋

I'm about to go full Freudian which I know is like a

我會講一堆佛洛伊德的東西，我知道

frustration and annoyance to many of you who are not like hardcore lit crit people

這讓大多數不像我一樣有文學癮的你們很挫折也很煩

But just walk with me on this one. So the paper has this

就這次陪我吧，所以，這壁紙有個很奇特的味道

peculiar odor that creeps all over the house and is stronger after a week of fog and rain.

味道在整個房子裡蔓延，經過一周的霧和雨後，味道變得更強了

Her husband might explain it as a combination of glue and mold intensified by humidity

她的丈夫可能會將其解釋為因濕度加劇的膠水和黴菌的組合

But smells travel through the olfactory bulb closely connected to the regions of the brain that handle memory and emotion.

但是氣味傳達到與大腦區域緊密相連的嗅球，這是個處理記憶和情緒的區域

That's why smells always remind us of moments from our past.

這就是為什麼味道總是讓我們想起過去的瞬間

And it seems to me the narrator's fixation on this smell could be what Freud called the return of the repressed, or unconscious material

在我看來，敘述者對這種氣味的固定想法可能是弗洛伊德所說的被壓抑的或潛意識的物質

rising to the surface.

返回意識表面

And maybe that's part of why the narrator becomes determined that nobody discovered the wallpapers meaning except herself, although

也許這就是為什麼旁白堅決沒有任何人除了自己發現壁紙的秘密，即使

She had initially craved conversation,

她最初渴望與人談話

She decides that it does not do to trust people too much, especially with her most frightening thoughts.

她認為不要過多地信任別人，尤其是當自己有著這些恐怖的想法

I mean after all having previously trusted people with her frightening thoughts has landed her in this situation

我的意思是，畢竟他以前與他相信過這想法的人已經讓她陷入了這種境地

where she has to stare at yellow wallpaper all day.

逼著他得整天盯著黃壁紙

And then eventually the narrator begins to suspect that many women are trapped inside this paper:

最後，敘述者開始懷疑許多婦女被困在這壁紙中

"I think there are great many women behind, and sometimes only one, and she crawls around fast, and her crawling shakes it all over." The

「認為壁紙背後有很多女人，有時只有一個女人，她快速地爬行，他的攀爬使整個地翻震動了起來」

Narrator longs to free this woman or women. On her last day in the house

旁白希望能夠釋放這個女人或所有的女人。在他在房子裡的最後一天

She locks her door, throws the key into the garden, and tethers herself to the bed which she also bites.

他鎖起房門，把鑰匙丟進花園裡，把自己綁在床上並咬著床

She rips at the wallpaper and thinks that it would be an admirable

她撕破了壁紙

exercise to throw herself out the window. Then she wedges her shoulder into a smudge that runs along the lower part of the wall and

認為將自己扔出窗外會是一種值得嘉許的運動。接著他把自己的肩膀擠入牆下的污痕

walks hunched over along the periphery of the room, a kind of

並在房間的外圍攀爬

reenactment of the woman stuck behind the wallpaper. John enters the room at last and then faints at the sight of his wife, yet

像是重扮演了壁紙後面的女人的行為。John 最後進入房間，然後在看到他的妻子時昏了過去

She continues her laps crawling over the body of the man who had oppressed her.

她繼續彎著膝蓋爬過壓迫她的男人的身體

"I've got out at last," she announces, "in spite of you and

「我最後逃出來了」他宣布到， 「不管你和 Jane？怎麼樣」

Jane?" Getting out at last involves rejecting societal norms and defying John and breaking free of

最後逃出去涉及到拒絕社會規範和無視 John 以及掙脫 Jane 的掌控

Jane, a character not mentioned until this point who may be herself?

這是個直到此時才提到的角色，可能是她自己

But then comes this question mark which complicates everything and makes it ambiguous. Charlotte Perkins Gilman

但隨後出現的這個問號，這使得一切變得複雜且含糊不清。Charlotte Perkins Gilman

transformed her experience of enduring this rest cure into a story that invites us to reconsider gender dynamics

她將這種靜養為療法的經驗轉化為一個故事，讓我們重新考慮性別平衡

And the treatment of mental health disorders.

還有對心理疾病的治療

At the time of its publication the story may have inspired concrete change too. In an article published in

在出版時，故事也可能激發了具體的變化。在一篇 Gilman 1913 年發表的文章中

1913 Gilman claims that her story quote "has to my knowledge, saved one woman from a similar fate --

他的故事說到「據我所知，我從一個類似的命運中拯救了一個女人」

So terrifying her family that they let her out into normal activity and she recovered. But the best result is this. Many years later

「這令她的家人感到害怕，但他們讓她有個正常的活動，她康復了。但這就是最好的結果。許多年後」

I was told that my own doctor had admitted to friends of his that he had altered his treatment of

「有人告訴我，我的醫生向他的朋友坦承在讀過我的書後，他改變了他對神經衰弱症的治療方法」

neurasthenia since reading The Yellow Wallpaper." stories affect the world in mysterious ways and if "The Yellow Wallpaper"

故事以神秘的方式影響著世界，如果《黃壁紙》

helped end the practice of separating the sick from the world then I am grateful.

幫助終結了將病人與世界分開的做法，我很感動。

But I think the story has served another far more personal function. It has given form and expression to many people's

但我認為這個故事對個人更有影響力。它為許多有精神疾病的人提供了形式和表達方式

experiences with mental illness including, I have to say, mine.

包括我不得不說的，我自己

It's a story that explores the ways that physiological brain disorders can be hurt or

這是一個故事，探討精神上的腦部疾病可能受到傷害

helped by treatments and by the way the social order imagines and talks about mental illness. And although we no longer

或是由治療得到幫助，還有透過社會秩序的想像和討論精神疾病的方式獲得幫助，即使我們不再使用

embrace rest cures we still have a long way to go when it comes to talking about mental illness without the stigmatization that can worsen

靜養為療程，對於為這疾病除去汙名好避免患者的痛苦惡化，我們還有很長的一條路

suffering. But then also mental illness and the way it's discussed isn't the only Yellow Wallpaper

但是，精神疾病及其討論的方式也不是市面上唯一的黃色壁紙

out there. I wonder

我懷疑

what is the wallpaper

到底是什麼黃壁紙

that constrains you and who else do you feel might be

會限制你以及你覺得可能

imprisoned by its pattern?

被其所囚禁的人？

How might you escape, how might you tell your story to

你要如何逃脫？你要如何用說故事的方式影響別人？

influence others? Those questions haunted me when I first read Gilman's story in high school

當我第一次在高中讀到吉爾曼的故事時，這些問題困擾著我

And they shaped a lot of the ways that I think about writing today. More than 20 years later I'm still asking them.

而這些塑造了我今天的寫作方式。20 多年後，我仍然再向他們學習

Thanks for watching

謝謝你的觀賞

I'll see you next time. Crash Course is filmed here in the Chad and Stacey Emigholz studio in Indianapolis

我們下次見。Crash Course 是在印第安納波利斯的Chad and Stacey Emigholz studio 拍攝的

and it's made possible by your support at

而我們因你們在 Patreon 上的支持而變得可行

Patreon. Patreon is a voluntary subscription service where you can support Crash Course directly through a monthly donation

Patreon 是一項自主性的訂閱服務，您可以通過每月捐款直接支持 Crash Course

To help us keep it free for everyone forever. We make Crash Course with Adobe Creative Cloud.

幫助我們永遠為每個人免費提供。我們使用 Adobe Creative Cloud 製作速成課程

You can get a free trial at a link in the description.

你可以在的說明欄裡找到免費體驗的連結

Thanks to everyone who supports us on Patreon and to all of you for watching and as we say in my hometown don't

感謝所有在 Patreon 上支持我們和所有人觀看的人，正如我們常說的

forget to be awesome.

不要忘記當個很棒的人