本译文1的译者是@someback(由晚霞校对并修改了一部分),本文翻自Semiotext(e))版本的Tiqqun的著作a Theory of the Young-Girl的第一章:The Young-Girl as a phenomenon2。另一Tiqqun 1, 1999的版本在此下载(此版本的法译英的译者不详,见第四页)。
花季少女理论导言部分@沙织翻译。

The Young-Girl is old insofar as she is known to be young. There is therefore no question for her of benefiting from this reprieve, which is to say of committing the few reasonable excesses, of experiencing the few “adventures” expected of people her age, and all this with an eye to the moment when she will have to settle down into the ultimate void of adulthood. Thus, during the time it takes for youth to decay, social law contains its own violations, which are in the end just exemptions.
花季少女在以年轻而为人所知时,已经足够老了。因此,她从这段缓冲期中获益是毫无疑问的,也就是说,做出一些比较合理的过激行为,经历一些她这个年纪的人所被期望的“冒险”,然后所有这些都要着眼于她安顿下来,迎接成年期——最终空虚的时刻。从而,在青春腐朽的时间段内,社会法律包含其自身的违法行为,而这终究只是免责条款的一部分。

The Young-Girl is crazy about the auciticitic because it’s a lie. 花季少女受困于真实性只因它是一个谎言。

The masculine Young-Girl is paradoxical in that she’s the product of a sort of “alienation by contagion.” Although the feminine Young-Girl appears as the incarnation of a certain alienated masculine imaginary, there is nothing imaginary about the alienation of this incarnation. It is altogether concretely that she has eluded those whose fantasies she populates in order to face and dominate them. As the Young-Girl emancipates herself, blossoms, and multiplies, the dream turns into an all-consuming nightmare. It’s at this point that her former slave returns to tyrannize yesterday’s master. In the end, we witness an ironic epilogue in which the “male sex” becomes both the victim and the object of its own alienated desire.
男性化的花季少女是一种“传染病般的异化”的矛盾产物。尽管女性化的花季少女是作为一个确定、异化的男性想象的化身而出现的,其中化身的异化没有任何虚构的成分。这完全是具体化的,她躲开了那些人,也居住于其幻想之中,为了面对和支配他们。(Although the feminine Young-Girl appears as the incarnation of a certain alienated masculine imaginary, there is nothing imaginary about the alienation of this incarnation. It is altogether concretely that she has eluded those whose fantasies she populates in order to face and dominate them.)当花季少女解放自己,绽放,结果时,梦境变成一场无休止的噩梦。这时,她以前的奴隶来欺压昨日的主人。最后,我们见证了一场讽刺的结局,“男性”masculine sex在变成受害者的同时也成为其异化欲望的对象。

I want people to be beautiful. 我想使人民变得美丽。

The Young-Girl is the figure of the total and sovereign consumer; she carries herself as such in every domain of existence.
花季少女是完全且至高无上的消费者形象。她在存在的每一个领域中都是如此。

The Young-Girl knows so very well the value of things.
花季少女十分清楚的知道事物的价值

Often, before her decay has become too obvious, the Young-Girl gets married.
The Young-Girl is only good for consuming, pleasure or work, it doesn’t matter.
常常,在她的腐烂过于明显之前,花季少女就已经结婚了。
花季少女只对消费,娱乐或工作有好处,除此之外一无是处。

The intimacy of the Young-Girl, now equivalent to all intimacy, has become something anonymous and exterior, an object.
花季少女的亲密关系,现在等同于所有的亲密关系,它已经变成了某种无个体特征的,外部的,一个客体。

The Young-Girl never creates anything; All in all, she only recreates herself.
花季少女从不创造任何东西:毕竟,她只再创造她自己。

By investing young people and women with an absurd symbolic surplus value, by making them the exclusive carriers of the two new kinds of esoteric knowledge proper to the new social order-consumption and seduction-Spectacle has effectively emancipated the slaves of the past, but it has emancipated them AS SLAVES.

通过赋予年轻人和妇女荒谬的符号剩余价值,通过使他们作为与新社会秩序相适应的两种深奥知识–消费和诱惑–的唯一载体。景观有效的解放了过去的奴隶,不过这是作为奴隶的解放。

The most extreme banality of the Young-Girl is to take her/himself for an original.
花季少女最庸俗的地方在于,把她/他自己当作新事物。

The stunted quality of the Young-Girl’s language, although it implies an incontestable narrowing of the field of experience, in no way constitutes a practical handicap, because it was not made to talk with, but rather to please and to repeat.
花季少女那发育不良的语言能力,尽管这并不意味着她在这个领域遭到了无可置疑的限制,其中不包含实际的阻碍,因为那不是用来交谈的,更像是用来重复和取悦的。

Chatter, curiosity, equivocation, hearsay, the Young-Girl incarnates the fullness of improper existence, whose categories Heidegger identified.
喋喋不休,好奇,模棱两可,谣言般的,花季少女是海德格尔意义上所确定的,充盈着不恰当存在的化身。

The Young-Girl is a lie whose apogee is the face. 花季少女是一个谎言,外观作为其极点。

When Spectacle’s proclaims that woman is the future of man, it is naturally speaking of the Young-Girl, and the future it predicts recalls only the worst cybernetic slavery.
当景观宣称女性是男性的未来时,它自然是在谈及花季少女,而这种未来预言只让人想起了最糟糕的控制论奴役。

‘’No kidding!’’ “不开玩笑!”

The Young-Girl manages to live with a dozen unarticulated concepts, as her only philosophy, that immediately become moral categories, meaning that the whole of her vocabulary can be definitively reduced to the Good/Evil binary. It goes without saying that, in order to consider the world, it must be sufficiently simplified, and in order to permit her to live in it happily, the world must make many martyrs, starting with herself.
花季少女设法生活在一打未能明确表达的概念,作为她唯一的哲学,这很快就变成道德范畴,意味着她的整个词汇表最终沦为善/恶二元论。无需多言,为了使她能够思量这个世界,世界必须足够简单,然后为了保证她能在世界上活得开心,从她开始,这个世界必须由许多英灵组成。

“Highly visible physical imperfections, even if they have no effect on aptitude for work, weaken people socially, transforming them into the involuntary invalids of work.”
(Dr. Julius Moses,Afa-Bwideszeitung, Febrnrary 1929)

“非常明显的身体缺陷,就算它们没有影响工作的能力,也会削弱人们的社交能力,使他们变成非自愿的工作残疾人“
(Dr. Julius Moses,Afa-Bwideszeitung, Febrnrary 1929)

In the Young-Girl, what is sweetest is also the cruelest, what is most “natural” is most feigned, what is most “human’’ is most machine-like.
在花季少女之中,最甜蜜的往往是最残暴的,最“自然的”也是最做作的,最“人性”的地方恰恰是最机械化的。

Adolescence is a recent category created according to the demands of mass consumption.
青春期是通过大量的消费需求创造出来的分期。

The Young-Girl invariably calls “happiness” everything to which THEY chain her.
所有总是和花季少女束缚在一起的东西都被THEY称作为“幸福”

The Young-Girl is never simply sad, she is also sad that she’s sad.
花季少女从不仅仅只是悲伤,她也为她的悲哀而悲伤。

Ultimately, the Young-Girl’s ideal is domestic.
最终,花季少女的理想是家庭。

Bloom is the crisis of classic sexuation and the Young-Girl is the offensive by which market domination has responded to this crisis.
布鲁姆(Bloom3)是古典性身份的危机,而市场所支配的花季少女是对此的回应。

There is no more chastity in the Young-Girl than there is debauchery. The Young-Girl simply lives as a stranger to her desires, whose coherence is governed by her market-driven superego. The ennui of abstraction flows into this come.
花季少女中的贞洁并不比放荡多。花季少女对她那一致性被市场驱动的超我所支配的欲望来说,活得像个陌生人。对抽象的厌倦流入其中。

There is nothing, neither poetry nor ethnology, neither Marxism nor metaphysics, that the Young-Girl cannot fit into the closed horizon of her vapid quotidian.
没有什么,无论是诗学还是人类文化学,无论是马克思主义还是形而上学,没有什么不是花季少女不能用来融入她那乏味平凡的封闭视界之中的。

“Albertine comesfrom nowhere, and is very modern in that way: she flutters, comes and goes, from her absence of attachments she derives the instability and the unpredictable quality which give her her power offreedom”
(Jacques Dubois, For Albertine: Proust and the Sense ofthe Social).

“艾伯丁无处不在,以一种非常现代的模式:她飘忽不定,来来去去,她从她的无依无靠中,获得了不稳定性和无法预知的品质,这使她具有自由的力量”
(Jacques Dubois*, For Albertine: Proust and the Sense of the Social).*

When it addresses itself distinctly to the Young-Girl, the Spectacle is not above a bit of bathmology. This is why the entire significance of boy-bands and girl-bands comes from making a show of the very fact of making a show. The lie consists, here-by means of crude irony-in presenting as a lie what is on the contrary the truth of the Young-Girl.
当景观将自己直接传递给花季少女时,它不过就是澡堂学(bathmology)。这就是为什么男子和女子乐团的全部意义就在于作秀。谎言的构成,经由拙劣的讽刺,在那,是作为花季少女的真相的对立而呈现的谎言。

The Young-Girl is struck by sudden vertigo whenever the world stops revolving around her.
每当世界停止围绕着她而旋转时,花季少女都会被眩晕所袭击

The Young-Girl sees herself as the holder of a sacred power: the power of commodities.
花季少女视自己为一种神圣的权能:商品权能的持有者。

“I love children. They’re beautiful, honest, and they smell good.” “我喜欢孩子,既美丽,又诚实,闻起来也很香。”

The mother and the whore, as Weininger understands them, are equally present in the Young-Girl. But the one hardly renders her any more worthy of praise than the other makes her worthy of blame. In fact, over time, a curious reversibility between the two can be observed.
母亲与妓女,就像魏宁格所理解的,平等地体现在花季少女之中,可是前者几乎没能使她更值得赞美,而后者则使她更容易被谴责。事实上,随着时光流逝,一种奇异的可逆性能从这两者中被观察到。

The Young-Girl is fascinating in the manner of all things that exhibit a closing-in-on-themselves, a mechanical self-sufficiency or an indifference to the observer, like the insect, the infant, the automaton, or Foucault’s pendulum.
花季少女着迷于所有自我封闭,机械般的自给自足,对观察毫无反应的事物的行为方式,比如昆虫,婴儿,自动机械以及福柯的钟摆。

Why must the Young-Girl always feign some activity or other? To remain unassailable in her passivity.
为什么花季少女必须总要装作是活跃的或其他的状态?
为了保持其无可置疑的被动性。

The “freedom’’ of the Young-Girl rarely goes beyond the ostentatious cult of the most pathetic of the Spectacle’s productions. Essentially, it consists in opposing a lack of zeal with the necessities ofalienation.
花季少女的“自由”罕有超过对最可悲景观产物的浮夸崇拜。本质上,它包含了使异化的必要性对立于热情的缺失。

THE FUTURE OF THE YOUNG-GIRL: THE NAME OF A GROUP Of “COMMUNIST” GIRLS. ORGANIZED IN THE SOUTHERN SUBURBS OF PARIS IN 1936 FOR THE “ENTERTAINMENT. EDUCATION. ANO THE DEFENSE OF THBR INTERESTS.”
花季少女的未来:一群名为共产主义者的女孩在1936年的巴黎南方城郊,为了”娱乐,教育和对她们嗜好的保卫“而组织起来。

The Young-Girl wants to be desired without love or loved without desire. There is no threat, in either case, to her unhappiness.
花季少女想要被人无爱地欲望着,或者无欲望地爱着。那里并没有威胁,无论是那种情况,都会使她不幸。

The Young-Girl has love STORIES. 花季少女有着爱情故事。

It is enough to recall what she classifies as “adventure” to get a good idea ofjust how much the Young-Girl fears the possible.
回想花季少女所分类的“冒险”,足以得到一个好想法–花季少女有多恐惧可能性。

The old age of the Young-Girl is no less hideous than her youth. From one end to the other, her life is nothing but a progressive shipwreck in formlessness, and never an irruption of becoming. The Young-Girl wallows in the limbo of time.
老年时的花季少女并不比年轻时更不可憎。从一端到另一端,她的生命除了在无形化中逐渐沉没外别无他物,也不会有使她成型的闯入。花季少女在时间的迷失域中沉沦。

As for the face of the Young-Girl, differences in age, like difference in gender, are insignificant. There is no age to be struck by youthitude, nor is there a gender that forbids itself a dash of femininitude.
对于花季少女的外表来说,年龄差异就像性别差异一样。毫无意义。并没有被青春期所冲击的年龄,同样也没有禁止自身略带女性化的社会性别。

Just like the magazines THEY intend for her and which she devours so painfully, the life of the Young-Girl is divided and organized into so many columns, between which the greatest separation reigns.
就像THEY为她准备的杂志一样,她如此痛苦地吞噬着杂志,花季少女的生活被划分和组织为如此多的专栏,其间存在着最大的分离。

THE YOUNG-GIRL IS THAT WHICH, BEING ONLY THIS, SCRUPULOUSLY OBEYS THE AUTHORITARIAN DISTRIBUTION OF ROLES.
花季少女是,且只能是小心翼翼地服从独裁主义者所分配的命令的存在。

Love for the Young-Girl is just autism for two. 对于花季少女来说,爱,就是使两人自闭。

What THEY continue to call virility is nothing more than the infantilism of men and femininity the infantmsm of women. Moreover, perhaps one ought to speak of virilism and of “feminism” when so much voluntarism is mixed into the acquisition of an identity.
THEY所继续称作的男子气概与男性幼稚症和女性化的女性幼稚症没什么区别。此外,可能当一个人将唯意志论与身份习得混淆时,才会以男性性征或“女性性征(feminism)”的语气来说话。

The same disabused stubbornness that characterized the traditional woman, assigned to the home with the duty of ensuring survival, blossoms, at present, in the Young-Girl, now emancipated from the domestic sphere and from all sexual monopoly. She will from now on express herself everywhere: in her irreproachable affective impermeability at work, in the extreme rationalization she imposes on her “emotional life,” in her every step, so spontaneously military, in the way she fucks, carries herself, or taps away on her computer—which is no different from the way she washes her car.
同样塑造传统女性的顽固不化,随着确保生存的责任被委派给家庭,盛开,暂时的,在花季少女之中,现在从家庭领域中,从所有对性的垄断中解放出来了。她从现在开始会在所有地方以此表达自己:在她工作中无可指责的对情感的不可渗透性。在她所规定她的“情绪化生活”的极端合理性中,在她的每一个迈步中,如此自发组织的军队,在她做爱的方式中,使她自己怀孕时,或者在她的电脑上以无异于她洗车的方式打字。

“One piece of information that I obtain in a well-known Berlin department store is particularly instructive: ‘When taking on sales and office staff,’ says an influential gentleman from the personnel department, ‘we attach most importance to a pleasant appearance.’ From a distance he looks a bit like Reinhold Schunzel in early films. I ask him what he understands by ‘pleasant’-saucy or pretty. ‘Not exactly pretty. What’s far more crucial is . . . oh, you know, a morally pink complexion.’
“我在柏林一家有名的百货商店里得到了一条十分具有启发性的信息,‘当在担任销售和办公室工作人员时’一位在人事部门有影响力的绅士这样说‘我们很重视令人愉快的外表’远处来看,他像是莱茵霍尔德·叔泽尔在其早期电影里所饰演的角色,我问他如何理解‘令人愉快的’–俏皮或者美丽的。‘不完全是美丽的,更重要的是。。。你懂的,一种道德的粉红面色。’

I do know. A morally pink complexion-this combination of concepts at a stroke renders transparent the everyday life that is fleshed out by window displays, salary-earners, and illustrated papers. Its morality must have a pink hue, its pink a moral grounding. That is what the people responsible for selection want. They would like to cover life with a varnish concealing its far-from-rosy reality. But beware, if morality should penetrate beneath the skin, and the pink be not quite moral enough to prevent the eruption of desires! The gloom of unadorned morality would bring as much danger to the prevailing order as a pink that began to flare up immorally. So that both may be neutralized, they are tied to one another. The same system that requires the aptitude test also produces this nice, friendly mixture; and the more rationalization progresses, the more the morally pink appearance gains ground. It is scarcely too hazardous to assert that in Berlin a salaried type is developing, standardized in the direction of the desired complexion. Speech, clothes, gestures, and countenances become assimilated and the result of the process is that very same pleasant appearance, which with the help of photographs can be widely reproduced. A selective breeding that is carried out under the pressure of social relations, and that is necessarily supported by the economy through the arousal of corresponding consumer needs.
我的确知道。粉红的面色–这个概念的集合一举使日常生活变得易懂,而这种日常生活则是由橱窗展示,雇佣人员们以及插图报纸所充实的。其道德必须带有粉红的色调,这使道德的底色被粉红填充。这就是人们为选择想要的所负的责任。他们会喜欢在他们那与美好相去甚远的生活上涂上作为掩藏的虚饰。不过请注意,如果美德需要穿透到皮肤底下,但粉红却没有足够的德性去阻止欲望的喷发!这朴素美德的黑暗面将会带来一种对主流秩序来说更加危险的,作为开始不道德地爆发的粉红。所以这两者是可以中和的,彼此之间绑定在一起。要求这种能力测试的同种系统,也生产了这种细微的,友好的混合物;越是合理化这种过程,道德的粉红外表就会越是普及。那绝不是去碰运气的去宣称在柏林有一种受薪模式正在发展的,标准化预期面色的趋势。在可广泛再生产的照片的帮助下,谈吐,衣装,姿势和表情变成了与令人愉快的外表无异的进程的同化和结果。一种精挑细选的教养是在社会关系的压力下被实行的,也就必然是被经济通过唤起相应的消费需求所支持的。

Employees must join in, whether they want to or not. The rush to the numerous beauty salons springs partly from existential concerns, and the use of cosmetic products is not always a luxury. For fear of being withdrawn from use as obsolete, ladies and gentlemen dye their hair, while forty-year-olds take up sports to keep slim. ‘How Can I Become Beautiful?’ runs the title of a booklet recently launched on to the market; the newspaper advertisements for it say that it shows ways ‘to look young and beautiful both now and forever.’ Fashion and economy work hand in hand. Most people, of course, are in no position to consult a specialist. They fall prey to quacks or have to make do with remedies as cheap as they are dubious. For some time now the above-mentioned deputy Dr. Moses has been fighting in their interest in parliament, for incorporating proper provision for disfigurement into social security. The young Working Community of Cosmetic Practitioners of Germany has associated itself with this legitimate demand” (Siegfried Kracauer, The Salaried Masses: Duty and Distraction in Wi:imar Germany, 1930).
雇员必须加入,无论想还是不想。冲向众多美容院的激流,部分起源于存在主义意义上的担忧,以及装饰品的使用并不总是奢侈的。因恐惧被过时的使用所隔绝于世,当四十岁的人们开始运动来保持苗条时,绅士们和女士们染起了发。‘如何能使我变得美丽?’成为了最近市场推出的小册子的标题;报纸广告对此的说法则是展现‘显得年轻又美丽,无论是现在还是永远’。时尚与经济携手运作。多数人,当然,是没有资格向专家咨询的。他们成为了江湖骗子或只能将就着便宜到可疑的疗法的牺牲品。一段时间后,上述的代表摩西博士一直在议会捍卫他们的利益,为了将有关毁容的合适条款纳入社会保障。德国美容医师的年轻劳动群体将自己和合法的要求联系起来。(Siegfried Kracauer, The Salaried Masses: Duty and Distraction in Wi:imar Germany, 1930).

The loss of metaphysical direction is not distinct, in the Young-Girl, from the “loss of the sensory” (Arnold Gehlen) in which the extreme modernity of her alienation is verified.
在花季少女中,形而上学趋势的损耗并非是明显的,从“知觉(sensory)的丧失”中,可以确定她的异化的极端现代性。

The Young-Girl moves in the oblivion of Being, no less than in that ofthe event.
花季少女在存在的湮没中前进,其速度并不亚于对事件的遗忘。

The incompressible agitation of the Young-Girl, in the image of this society at its every point, is governed by the hidden demand to render effective a false and pathetic metaphysics, whose most immediate substance is the negation of the passage of time, and the obscuring of human finitude.
花季少女那不可压缩的焦虑不安,在这个社会图景中的每一个要点中,是被隐藏需求所驱动的虚假而又可悲的形而上学而统治的–其最直接的实质是对时间推移(passage of time)的否定和对人类有限性的模糊。

THE YOUNG-GIRL RESEMBLES HER PHOTO. 花季少女,像她的照片。

Insofar as her appearance entirely exhausts her essence, as her representation does her reality, the Young-Girl is that which is entirely expressible, perfectly predictable, and absolutely neutralized.
就像她的外表完全穷尽了她的本质,就像她的表象作为她的现实,花季少女是全然可表现的,完全可预见的,和绝对中性化的。

The Young-Girl exists only in proportion to the desire that THEY have for her, and knows herself only by what THEY say she is.
花季少女的存在只与THEY对她的欲望成正比,而且只通过THEY所说的她来了解她自己。

The Young-Girl appears as the product and the principal outcome of the formidable surplus crisis of capitalist modernity. She is the proof and the support of the limitless pursuit of the process of valorization when the process of accumulation proves limited (by the limits of the planet itself, ecological catastrophe, or social implosion).
花季少女表现为资本主义现代性强大的过剩危机的产物和主要结果。当累积的进程被证明为有限时(地球自身的限制,生态灾难,社会崩溃),她是对规制化(valorization)无止尽追求的进程的支撑和证据。

The Young-Girl is content to cover over with a falsely provocative hidden sense the actual economic sense of her motivations.
花季少女满足于用虚假的挑逗的隐藏感来掩藏其动机的经济意义。

All the freedom of movement the Young-Girl enjoys in no way prevents her from being a prisoner, from manifesting, in every circumstance, the automatisms of the shut-in.
所有花季少女所享有的自由活动都无法阻止她成为囚犯,在每一种情况中都显现出禁闭的自动化。

The way to be the Young-Girl is to be nothing.
成为花季少女的方法就是成为虚无

Managing to “succeed in her sentimental and professional life at the same time”: certain Young-Girls proclaim this as an ambition worthy of respect.
设法“同时做到职业生涯的成功和她情感上的多愁善感。”:某些花季少女宣称这是一个值得尊重的野心。

The “love” of the Young-Girl is just a word in the dictionary.
花季少女的“爱”只不过是词典上的一个字。

The Young-Girl requires not only
that you protect her,
she also wants the power to educate you.

花季少女不仅要求
你保护她,
也要求获得教育你的权力。

The eternal return of the same styles in fashion is enough to convince: The Young-Girl does not play with appearances. It is appearances that play with her.
同种时尚的永恒回归足以说明:花季少女并不玩弄外表。是外表玩弄她。

Even more than the feminine Young-Girl, the masculine Young-Girl, with his fake muscles, absurdity, which is to say, suffering, in what Foucault called “the discipline of bodies”:

“Discipline increases the forces of the body (in economic terms of utility) and diminishes these same forces (in political terms of obedience). In short, it dissociates power from the body; on the one hand, it turns it into an ‘aptitude, ‘ a ‘capacity, ‘ which it seeks to increase; on the other hand, it reverses the course of the energy, the power that might result from it, and turns it into a relation of strict subjection” (Michel Foucault, Discipline and Punish) .

更甚于女性化的花季少女,男性化的花季少女,与他那虚假的肌肉,荒诞性一起,在福柯所称的“身体的规训”中受苦:

纪律既增强了人体的力量(从功利的经济角度来看),又减弱了这些力量(从服从的政治角度来看)。总之,它使体能脱离了肉体。一方面,它使体能变成了“才能”,“能力”并竭力增强它。另一方面,它颠倒了体能的产生过程,把后者变成一种严格的征服关系(米歇尔福柯,规训与惩罚4

“Oh, a girl, that receptacle of shame under beauty’s lock and key!” (Witold Gombrowicz, Ferdydurke, 1937)
“噢,女孩,就是那花容月貌的锁和钥匙下的遮羞布!”(”Oh, a girl, that receptacle of shame under beauty’s lock and key!” )(Witold Gombrowicz, Ferdydurke, 1937)

There is surely no place where one feels as horribly alone as in the arms of a Young-Girl.
没有一个地方能让人感与身处花季少女的怀中一样的,恐怖的孤独。

When the Young-Girl gives in to her own insignificance, she still manages to find glory in it, because she is “having fun.”
当花季少女屈服于她的无价值时,她仍然设法从中感到自豪,因为她“尽情享乐(having fun)”。

“This was precisely what captivated me-the maturity and autonomy of her youth, the selfassurance of her style. While we, in school, had our blackheads, constantly broke out in pimples and ideals, while our movements were gawky and each step was a gaffe, her exterior was entrancingly polished. Youth, for her, was not a transitional age-for this modern one, youth was the only time befitting a human being. [ … ] Her youth had no need of ideals, it was in and of itself an ideal” (Witold Gombrowicz, Ferdydurke).
“这正是吸引我的地方——她青春期的成熟和自主性,她那自信的风格。当我们在学校带着黑头粉刺,时常突然长出青春痘和理想时,当我们的动作笨拙,每一步都是过失时,她的外表令人神魂颠倒的优美。对她来说,青春期,并非是个过度阶段——对现代人来说,青春期则是唯一与人相适的时期。【。。。】她的青春无需理想,其自身便是理想“(Witold Gombrowicz, Ferdydurke).

The Young-Girl never learns anything. That’s not why she’s here.
花季少女从不学习任何东西。这并不是她在这的理由。

The Young-Girl knows all too well what she wants in detail to want anything in general.
花季少女太过于了解她需求的细节,才会想要一切一般的东西。

DON’T TOUCH MY BAG! “不要碰我的包!”

The triumph of the Young-Girl originates in the failure of feminism.
花季少女的成功起源于女性主义的失败。

The Young-Girl does not speak. On the contrary, she is spoken by the Spectacle.
花季少女并不说话,相反,她被景观言说

The Young-Girl wears the mask of her face.
花季少女的脸上带着面具。

The You ng-Girl red uces all grandeur
t o t h e l e v e l o f h e r a s s.
花季少女把所有庄严的事物降到
和 她 屁 股 一 个 等 级。

The Young-Girl is a purifier of negativity, an industrial profiler of unilaterality. In all things, she separates the negative from the positive, and generally retains only one of the two. No surprise that she doesn’t believe in words, which in fact have no meaning in her mouth. Let it suffice, for us to be convinced, to see what she means by “romantic” which after all has little to do with Hölderlin.
花季少女是否定性的净化器,片面的工业剖析师。于所有的事物中,她把否定性从肯定性中分离出来,一般只保留两者之一。不讶于她不相信言辞,事实上这在她嘴中并无意义。**只要使我们被说服,相信她所说“浪漫”的含义就够了,毕竟这与荷尔德林毫无关系。**

“We must hence envisage the birth of the ‘young girl’ as the construction of an object in which different disciplines compete (from medicine to psychology, from physical education to morality, from physiology to hygiene)” (Jean-Claude Caron, The Body of Young Girls).
“我们必须因此来设想“年轻女孩”的诞生,其作为不同规训对抗(从医药学到心理学,从身体教育到道德,从生理学到卫生学)建构的一个对象”
(Jean-Claude Caron, The Body of Young Girls)

The Young-Girl would like for the simple word “love” not to imply the project of destroying this society.
花季少女想要只是作为简单词语的“爱”,而不想暗示毁灭社会的方案。

“AH, THE HEART!’’ “啊,发自肺腑!”

“Don’t confuse your job with your feelings!” In the life of the Young-Girl, inactivated opposites thrust into nothingness complement each other, and never contradict.
“不要混淆你的工作和感受!”在花季少女的生命里,将失去活力的对立塞入到不存在补足的彼此中,而这永远不会产生矛盾。

The Young-Girl’s sentimentalism and materialism, however opposed they may appear, are really in solidarity: two aspects of her central void.
花季少女的感情主义(sentimentalism)和唯物主义,无论表现得如何对立,实际上则是一体的:她中心空虚的两面。

The Young-Girl is happy to speak of her childhood with emotion, in order to give the impression that she has not gotten over it, that at bottom, she is still naive. Like all whores, she dreams of candor. But unlike whores, she insists that we believe her, and that we believe her sincerely. Her infantilism, which is ultimately just a childlike fandamentalism, makes her the wiliest vector of general infantilization.
花季少女很乐意带着感情谈起她的童年,目的在于给出她尚未跨过这段时期的印象,在其尽头,她依旧天真。就像所有妓女一样,她梦想着坦诚(candor)。但这又不像妓女,她不仅坚持我们相信她,而且坚持这是真诚的。她的幼稚症,根本上是一种孩子般的原教旨主义,让她变成一般幼稚症最狡猾的媒介昆虫。

The pettiest sentiments still retain, for the Young-Girl, the prestige of their sincerity.
琐碎的感情仍然保留着,对花季少女来说,则是受人尊敬的真诚。

The Young-Girl loves her illusions the same way she loves her reification: by proclaiming them.
花季少女爱着她的幻想,以同样的方式爱着她的物化:以宣称它们的方式。

The Young-Girl knows everything as devoid of consequences, even her own suffering. Everything is funny, nothing’s a big deal. Everything is cool, nothing is serious.
花季少女知道所有一切都作为后果的缺失,甚至她自身的苦难也是如此。所有一切都是好笑的,没有什么重要的。所有一切都是很的,没有什么严肃的。

The Young-Girl wants to be recognized not for what she might be, but for the simple fact of her being. She wants to be recognized in the absolute.
花季少女想要被承认,不是以她可能成为的形式,而是以她存在的简单事实。她想被以绝对的方式被承认。

The Young-Girl not here to be criticized.
花季少女在那不是用来被批判的。

When the Young-Girl arrives at the age limit of infantilism, where it becomes impossible not to ask oneself the question of ends for fear of finding oneself suddenly in search of means (which, in this society, can arrive very late), she reproduces. Paternity and maternity constitute one method among others, no less devoid of substance than all the rest, of holding out
UNDER THE EMPIRE OF NECESSITY.
当花季少女到达了幼稚症的极限年龄,变得不可能的地方在于,不去询问自身何时能结束发现自己突然陷入到寻找意义(在这个社会, 能 到 得 很 晚)中的恐惧,她的再现(she reproduces)。
在必然性帝国的坚持下
父性(Paternity)和母性(maternity)组成了在所有方法之上的方法,其实质的缺乏并不比剩下的方法少。

THE YOUNG-GIRL DOESN’ T KISS YOU, SHE DROOLS OVER YOU THROUGH HER TEETH. MATERIALISM OF SECRETIONS.
花季少女不会亲吻你。她通过她的牙齿在你身上流口水。唯物主义的分泌物。

The Young-Girl adopts above all the point of view of psychology, about herself as much as the course of the world. This is how she manages to present a certain consciousness of her own reification, a consciousness that is itself reified, as it’s cut off from all gesture.
花季少女接受了所有心理学的观点。关于她自己的如同世界上的进程一样多。这就是她如何做到呈现出对她自身物化的确定意识,一种作为在所有姿态中切下的,一种自身物化的意识。

The Young-Girl knows the standard perversions.
花季少女知道标准的反常行为。

“TOO CUTE!” “太可爱啦!”

The Young-Girl’s aim is balance. Not the balance of a ballerina, but of an accountant.
花季少女的目的在于平衡,并非指芭蕾舞蹈意义上的,而是指会计师式的。

The smile has never served as an argument. There is also the smile of skulls.
这微笑从未充当过争辩的作用。这也同样也是骷髅头的微笑。

The Young-Girl’s affectivity is made only of signs, and occasionally, mere signals. Wherever ethos is lacking or decomposing, the Young-Girl appears as the bearer of the fleeting and discolored mores of the Spectacle.
花季少女的感情敏感只由符号构成,以及偶尔的,仅仅只是信号(signals)。
无论哪里存在方式(ethos)缺失或被分解,花季少女就会作为短暂而褪色的道德景观的承担者。

The Young-Girl is not expected to understand you.
花季少女并不期望理解你。

The Young-Girl’s predilection for actors and actresses can be explained according to the laws of elementary magnetism: whereas they are the positive absence of any quality, the void that takes all forms, she is but the negative absence of quality. Thus, like his reflection, the actor is the same as the Young-Girl, whose negation he also is
THE YOUN6-GIRL CONCEIVES LOVE AS ONE SPECIFIC KIND OF ACTIVITY.
花季少女对男女演员的偏爱可以被魅力(magnetism)的基本定义解释:鉴于他们是任何品质的肯定性缺失,一切形式的虚无,她只不过是品质的否定性缺失。从而,如同他的映像,男演员与花季少女无异,他也是其映像的否定对象。
花季少女相信爱作为一种特殊的活跃形式。

The Young-Girl’s laughter rings with the desolation of nightclubs.
荒凉的夜店中响起花季少女的笑声。

The Young-Girl is the only insect that consents to the entomology of women’s magazines.
花季少女是唯一满足于女性杂志昆虫学的昆虫。

Identical, in this, to misery, a Young-Girl never shows up alone.
在这里,与苦难相同的是,一个花季少女从不独自出现。

Thus wherever Young-Girls dominate, their taste must also dominate; this is what determines the tastes of our time. The Young-Girl is the purest form of reified relations; she is their truth. The YoungGirl is the anthropological concentrate of reification.
就这样,无论何处被花季少女们所支配,她们的品味也必须在那处于支配地位;这就是决定了我们时代品味的东西。花季少女是物化关系的纯纯粹形式;她是她们的真相。花季少女是物化在人类学意义的集中的体现。

The Spectacle amply remunerates, though indirectly, the conformity of the Young-Girl.
景观充分地给予报酬,通过间接的,花季少女的服从。

In love more than anywhere else, the Young-Girl behaves like an accountant, always suspecting that she loves more than she is loved, and that she gives more than she receives.
在爱情中比任何地方都重要的是,花季少女表现得像个会计师,总是怀疑她爱甚于她被爱,她付出甚于她得到的。

Among Young-Girls there is a community of gesture and expression that is anything but moving.
在花季少女之上的是一个姿态的共同体和除了变化以外的任何表达。

The Young-Girl is ontologically virgin,
virgin of all experience.
The Young-Girl can display solicitude, provided one is truly miserable. This is one aspect of her resentment.
花季少女是本体论上的处女
对于所有经验(experience)而言的处女。
花季少女能表现出关怀,倘若一个人真的处于悲惨的状况。这是她怨恨的一个方面。

The Young-Girl does not perceive the passage of time any more than she is moved by its “consequences.” Otherwise, how else could she speak of aging with such indignation, as though it were a crime committed against her?
花季少女没有比她被其“结果”所移动的程度所更多的察觉到时间的推移。另外,不然她如何如此愤概地谈到衰老,仿佛这是为了反对她而犯下的罪行?

Even when she isn’t trying to seduce. the Young-Girl acts like a seductress.
甚至当她并非在尝试引诱,花季少女都表现得像一个充满诱惑的女性。

There is something prefessional about everything the Young-Girl does.
花季少女所做的一切都有其专业性。

The Young-Girl will never stop flattering herself for having “Common Sense.”
花季少女为了拥有“常识”将永远不会停止奉承她自己。

In the Young-Girl, even the most insipid moralisms have the air of prostitution.
在花季少女之中,就算是最枯燥的道德主义也会带着卖淫的氛围。

The Young-Girl possesses all the severity of the economy. However, the Young-Girl is more ignorant of abandon than anything else.
花季少女拥有所有经济上的严厉性。然而,她对放纵的无知甚于任何事物。

The Young-Girl is the entire reality of the Spectacle’s abstract codes.
花季少女是景观抽象编码的所有真相。

The Young-Girl occupies the central node of the present system of desire.
花季少女占领了现在欲望系统的中心节点。

The Young-Girl’s every experience is drawn back incessantly into the preexisting representation she has made for herself All the overwhelming concreteness, the living part of the passage of time and of things are known to her only as imperfections, as alterations of an abstract model.
年轻女孩的每一次经历都被不断地退回到她为自己所做的预先存在的表象中。所有压倒般的具体性,对她所知的时间推移的和事物的活着的部分,仅作为瑕疵,以及对抽象模型的修改。

The Young-Girl is resentment that smiles. 花季少女是那怨恨的微笑。

There are beings that give you the desire to die slowly before their eyes, but the Young-Girl only excites the desire to vanquish her, to take advantage of her.
那是给你在她们面前缓慢死去的欲望的存在,不过花季少女只对征服,利用她的欲望感到兴奋。

THE YOUNG-GIRL DOES NOT COUPLE IN TRANSPORT TOWARD THE OTHER, BUT IN ORDER TO ESCAPE HER UNBEARABLE NULLITY.
花季少女并不耦合于朝向他者的运输,但目的在于逃出她那难以忍受的无价值。

The supposed liberation of women did not consist in their emancipation from the domestic sphere, but rather in the total extension of the domestic into all of society.
妇女被假定的自由不包括从家庭领域中解放出来,而更倾向于让家庭在所有社会的全面扩张。

In the face of any person who would seek to make her think, the Young-Girl will always pride herself on being a realist.
在一张看起来想要让她变瘦的人的脸上,花季少女将总是骄傲于她作为现实主义者的存在。

Insofar as what she hides is not her secret, but rather her shame, the Young-Girl hates the unexpected, especially when it is not prograrnrned.
只要是当她隐藏的并非是意义,而是羞耻感时,花季少女就会憎恨出乎意料的事物,尤其是当其不是程序化的时候。

“Being in love: a drug that reduces stress.” “恋爱:一种减压的药物。”

The Young-Girl never stops repeating it: She wants to be loved for who she is, which is to say for the non-being she is.
花季少女从来不停止重复这个:她想因她所是而被爱,也就是说她的非存在性。

The Young-Girl is the living and continual introj ection of all repression.
花季少女是活着和持续的所有抑制的内化。

The “self” of the Young-Girl is as thick as a magazine.
花季少女的“自我(self)”和杂志一样厚。

Nothing, in the conduct of the Young-Girl, has a reason in itself. Everything is ordered by the dominant definition of happiness. The Young-Girl’s estrangement from herself borders on mythomania.
在花季少女的行为中,没有什么是有原因的。一切都被幸福支配性定义所命令。花季少女对她自己的疏离近乎于狂想症(mythomania)。

As a last resort, the Young-Girl fetishizes “love” so as to avoid an awareness of the entirely conditioned nature of her desires.
就像上述的手段(resort),花季少女盲目迷恋于“爱”以便于远离对她欲望被全然限制的本质的认知。

“I’m so happy I could give a shit about being free!” “我太开心了,我可以在意自己的自由!”

“THE CHEMISTRY OF PASSION: Today, everything is explainable, even the fact of fal l ing in love! Farewell romanticism, since the ‘phenomenon’ is just a series of chemical reactions.”
“激情的化学作用:在今天,所有事物都是可解释的,甚至是坠入爱河这个事实!告别浪漫主义吧,因为“现象”只是一系列的化学反应。

In their divorce, the Young-Girl’s heart and ass have become two empty abstractions.
在她们的分离(divorce)中,花季少女的心和屁股变成了两个空洞的抽象物。

‘The ghostly image of the cinema hero model[s] the embraces of adolescents, and later adultery” (Max Horkheimer/ Theodor W. Adorno, The Dialectic of Enlightenment).
“电影英雄幽灵般的影像塑造了青春期的拥抱(embraces),以及之后的通奸行为。”(Max Horkheimer/ Theodor W. Adorno, The Dialectic of Enlightenment).

The Young-Girl is steeped in déjà-vu. For her, the first-time experience is always a second time in representation.
花季少女被似曾相识所充满。对她来说,初次经历总是已出现过的表象。

Naturally, nowhere has there been a “sexual liberation” -that oxymoron!-but only the pulverization of everything that slowed the total mobilization of desire in view of the production of merchandise. The “tyranny of pleasure” does not incriminate pleasure, but tyranny.
自然地,哪里都没有“性别解放(sexual liberation)”——这种矛盾修饰语!——不过只有一切事物的粉碎能放缓基于商品生产的欲望的全面活动化。“娱乐的暴政”并非是暗示娱乐有罪,而是强调暴政。

The Young-Girl knows how to take feelings into account.
花季少女知道如何将感受计入账目。

In the world of Young-Girls, coitus appears as the logical sanction of all experience.
在花季少女的世界中,性交是作为对所有经历的合理性支持而出现的。

The Young-Girl is “satisfied with life,” at least that’s what she says.
花季少女是“对生活满意”的,至少她是这么说的。

The Young-Girl only establishes relationships based on the strictest reification and on false substantiality, where THEY can be sure that what unites in fact only separates.
花季少女只基于最严密的物化和虚假的实质性(substantiality)之上才能建立关系,只有在这,THEY才能确定被称作团结的实际上是分隔。

The Young-Girl is optimistic, thrilled, positive, happy, enthusiastic, joyful;
in other words,* she suffers.*
花季少女是乐观、兴奋、肯定、开心、热情和愉悦的;
换句话来说,她在受苦

The Young-Girl is produced wherever nihilism begins to speak of happiness.
凡是虚无主义开始谈论幸福的地方,都会产生花季少女。

There is nothing special about the Young-Girl; that is her “beauty.”
花季少女并没有什么特别的,这就是她的“美”。

The Young-Girl is an optical illusion. From afar, she is an angel, and up close, she is a beast.
花季少女是一种视错觉。从远处看,她是一位天使,靠近之后,她是一头野兽。

The Young-Girl doesn’t age.
She decomposes.

花季少女不会衰老,
而是腐烂。

We know, in general,
what the Young-Girl thinks of worrying.
The Young-Girl’s education is the inverse of all other forms of education: First the immediate innate perfection of youth, then the effort to maintain herself at the height of this primary nullity, and finally, collapse in the face of the impossibility of returning to this side of time.
一般来说,我们知道,
花季少女是如何看待焦虑的。
花季少女的教育是其他所有形式教育的反转:首先是青春直接而先天的完美性,其次是使她自己保持在最初的无价值的高度上的努力,最后在回到时间这一侧的不可能性面前,崩溃了。

Viewed from afar, the Young-Girl’s nothingness appears relatively habitable, at certain moments even comfortable.
从远处看,花季少女的虚无表现出当的宜居性(relatively habitable),有时甚至是舒适的。

“Love, Work, Health.’’ “爱情,工作,健康”

The Young-Girl’s “beauty” is never a particular beauty, or one that might belong to her. On the contrary, hers is a beauty without content, an absolute beauty free of any personality. The Young-Girl’s “beauty” is but the form of a void, the spectral form of the Young-Girl.
花季少女的“美”从不是特定的美,或者可附属于她的属性,相反,这是一种无内容的美,一种摆脱了任何个性的绝对的美。花季少女的“美”只不过是一种虚无的,花季少女的幽灵增补部分的形式。

And this is why she can, without choking on her words, speak of “beauty,” because her own is never the expression of a substantial singularity, but a pure and ghostly objectivity.
而这就是她何以能够,无须哽咽着她的言语,谈论“美”,因为她专有的从不是实质性奇异(substantial singularity)的表达,而是纯粹和幽灵般的客体性。

“Indeed, only now does [the basic ideological confusion between woman and sexuality] assume its full scope since women, once subjugated as a sex, are today ‘liberated’ as a sex [ … ] Women, young people and the body-the emergence of all of which after thousands of years of servitude and forgetting in effect constitutes the most revolutionary potentiality-and, therefore, the most fundamental risk for any social order whateverare integrated and recuperated as a ‘myth of emancipation.’ Women are given Woman to consume, the young are given the Young and, in this formal and narcissistic emancipation, their real liberation is successfully averted” (Jean-Trissotin Baudrillard, The Consumer Society: Myths and Structures).
“既然女性和身体在奴役中曾联结在一起,那么女性的解放和身体的解放的联系也是合乎逻辑且合乎历史的。(出于相近的原因,青年的解放也和它们发生在同一时代。)但是我们看到这种同步的解放是在女性与性欲之间的基本意识形态混淆根本尚未廓清的情形下 进行的——清教的障碍依然纹丝不动。最合适的说法是:女性,既然她以前作为性被奴役,今天作为性被“解放 ”(LIBÉRÉE),那么她只是到今天才获得了充分发展。以至于此后我们看到这种几乎是不可逆的混淆以各种形式加深着,因为正是随着她的一步步解放,女性越来越被混同于自己的身体 。但前提条件是:实际上,表面上解放了的女性被混同于表面上解放了的身体。对女人就像对身体一样,就像对青年以及一切其解放构成了当代民主社会的主题范畴一样,可以说:一切在名义上被解放的东西——性自由、色情、游戏,等等——都是建立在“监护 ”价值体系之上的。这些同时引导着消费以及社会放逐行为的价值是“不负责任”的——这甚至是一种称赞,对名誉的过度强调阻隔了真实的社会经济责任。女人、青年、身体,他们在被奴役、被遗忘了几千年之后的浮现,实际上构成了最具革命性的可能,并因而构成了对任何一种既成秩序的最根本威胁——他们被一体化、回收成为“解放的神话”。把本属于女性的提供给女人们消费、把本属于青年的提供给年轻人消费,这种自恋式的解放成功地抹煞了他们的真正解放。”
(Jean-Trissotin Baudrillard, The Consumer Society: Myths and Structures).5

The Young-Girl offers an unequivocal model of the metropolitan ethos: a refrigerated consciousness living in exile in a plasticized body.
花季少女提供了一种明确的大都会精神的典范:一种冻结的意识,流亡在一具塑化的身体中。

“Too cool!!!” Instead of saying “very” the Young-Girl says “too,” while in fact, she is so very little.
“太酷了!!!”比起用“那么”,花季少女用“太”来修饰,而事实上,她是那么的小。


  1. 1.本文翻译部分参照豆瓣用户@未来的
  2. 2.已有导言翻译
  3. 3.借用了乔伊斯小说《尤利西斯》的主人公利奥波德·布鲁姆的名字。布鲁姆(Bloom)是 Tiqqun 著 作中一个重要的概念人物。在 Tiqqun 的《布鲁姆理论》(Paris:La Fabrique,2004)中,Bloom 被描述为:“末人,大街上的人,人群中的人,大众的一员,大众-人,这就是他们何以让 Bloom 来代表我们:作为一个群氓时代的悲哀产品,作为工业时代和魔法终结时的灾难之子。尽管有如此专横的指认,我们仍能感觉到他们在无限神秘的普通人面前瑟瑟发抖。每个人都感觉到他的本质的剧场遮蔽了他的纯粹潜力:我们对这种纯粹的力量一无所知。”(16-17)摘自内战导论(Introduction to Civil War)(此书为沙织译注)
  4. 4.参考译本 规训与惩罚(修订译本)(第4版) 生活·读书·新知三联书店
  5. 5.消费社会/(法)鲍德里亚著;刘成富,全志钢译.--南京:南京大学出版社,2014.10