直播鼻祖、“哈佛蕩婦”：那些曾經(jīng)的校園話題人物
自從大學(xué)開始男女同校那一天起，校園里的女性一直受到仔細打量。然而，唯有在博客和社交媒體出現(xiàn)之后，尋常女孩才會在一夜之間成為轟動一時的話題人物。
Below, a survey of female and non-binary students who got more attention than they bargained for, and how they’ve fared since leaving school.
下面是一項針對女性和非二元性別學(xué)生的調(diào)查，以及她們離開學(xué)校后的狀況。這些學(xué)生都曾獲得超出自身預(yù)期的關(guān)注。
Jennifer Ringley
詹妮弗·林格爾(Jennifer Ringley)
Age: 41. Alma Mater: Dickinson College. Major: Economics.
年齡：41 母校：迪金森學(xué)院 專業(yè)：經(jīng)濟學(xué)
Controversy: In 1996, Ms. Ringley, then 19, stumbled upon a new technology known as the webcam. As she began exploring its possibilities, she accidentally innovated an entirely new genre of entertainment: one in which ordinary people broadcast their lives to a captive audience of strangers.
爭議：1996年，19歲的林格爾偶然發(fā)現(xiàn)了一種名為網(wǎng)絡(luò)攝像頭的新技術(shù)。當她開始探索其可能性時，一沒留神創(chuàng)造出一種全新的娛樂類型：普通人向一群著迷的陌生人播放他們的生活。
Although Ms. Ringley’s project, Jennicam, was low-fi by today’s standards — a still photo set in her dorm room refreshed every 15 minutes — it quickly found an international audience.
雖然以今天的標準來衡量，林格爾的項目詹妮視頻(Jennicam)屬于低科技了——她放的是自己在宿舍里的靜態(tài)照片，每15分鐘更新一次——很快就獲得了國際觀眾。
Aftermath: Ms. Ringley kept Jennicam going even after she graduated, and as the internet grew, so did her audience. By 1998 she was a full-fledged media darling, appearing on “This American Life” and “The Late Show With David Letterman.”
后果：林格爾大學(xué)畢業(yè)后，繼續(xù)在做詹妮視頻，隨著互聯(lián)網(wǎng)的發(fā)展，她的觀眾也越來越多。到了1998年，她成為了一個成熟的媒體寵兒，上過《美國生活》和《大衛(wèi)·萊特曼的深夜秀》節(jié)目。
Her fan base grew, and so did commentary on her personal life. When Ms. Ringley began dating a friend’s fiancé, viewers were incensed; The Washington Post declared Ms. Ringley an “amoral man trapper.”
她的粉絲群增長了，她的個人生活也開始被人品頭論足。當林格爾開始和朋友的未婚夫約會時，觀眾被激怒了;《華盛頓郵報》稱林格爾是“不道德的男人陷阱”。
In 2003, she shut the site down and vanished from the internet. Although Ms. Ringley has done a few interviews in the intervening years — most notably, a 2014 interview with the podcast “Reply All” — she has largely shunned public attention, even as the personal transparency she pioneered has become more mainstream.
2003年，她關(guān)閉了網(wǎng)站，從互聯(lián)網(wǎng)上消失了。雖然這些年做了一些采訪——最值得注意的是2014年播客“回復(fù)所有(Reply All)”的采訪——她基本避開了公眾的關(guān)注，盡管她所開創(chuàng)的個人透明度已變得越來越主流。
Lena Chen 陳莉娜(Lena Chen)
Age: 30. Alma Mater: Harvard University. Major: Sociology.
年齡：30歲 母校：哈佛大學(xué) 專業(yè)：社會學(xué)
Controversy: Ms. Chen began blogging about her sex life at Sex and the Ivy in the summer of 2006, right before the start of her sophomore year at Harvard, intending to share her thoughts and experiences with her friends.
爭議：2006年夏天，就在陳莉娜念哈佛二年級之前，她開始在《性與常春藤》上寫性生活博客，打算跟朋友們分享自己的想法和經(jīng)歷。
Ms. Chen soon found herself a celebrity, not just on the Harvard campus, but also across the broader collegiate landscape, as the defunct IvyGateBlog transformed her into a character the site’s writers often referred to as their “best frenemy.” In 2008, an ex-boyfriend published naked photos of her online, seemingly earning more spectators than sympathy.
她發(fā)現(xiàn)自己很快就成了名人，不僅是在哈佛的校園，還跨越了大學(xué)間的藩籬。今天已經(jīng)不復(fù)存在的IvyGateBlog將她變成了一個角色，被該網(wǎng)站的作者經(jīng)常拿來稱之為“最好的友敵”。2008年，她的前男友在網(wǎng)上發(fā)布了她的裸照，這似乎沒有為她帶來多少同情，而是更多的觀眾。
Aftermath: After the leak, Ms. Chen took a year off from college to attend to her mental health. Years after shuttering Sex and the Ivy, she said, she was plagued by a stalker who relentlessly harassed her and other online acquaintances. In 2013, she decided to leave Boston and start a new life in Berlin, intending to research a novel.
后果：照片泄漏事件發(fā)生后，陳莉娜休學(xué)一年，照顧自己的心理健康。她說，在關(guān)閉《性與常春藤》之后的幾年里，她一直受到一個跟蹤者的困擾，那個人不停地騷擾她以及其他的網(wǎng)友。2013年，她決定離開波士頓，在柏林開始新的生活，同時打算為一部小說做研究準備工作。
Ms. Chen adopted the name Elle Peril and stopped telling people about her past. She abandoned her writing career and started working as a nude model for artists and photographers.
陳莉娜改名艾爾·佩里爾，不再跟別人說起自己的過去。她放棄了寫作生涯，開始為藝術(shù)家和攝影師當裸體模特。
“It was really liberating in the beginning,” Ms. Chen said in an interview, but eventually a paranoia familiar from her college days returned, including a fantasy that she was being followed by government agents.
她在一次采訪中說，“一開始真的是解脫感”，但后來，她大學(xué)時代就有的多疑癥又發(fā)作了，包括懷疑自己被政府特工跟蹤。
Ms. Chen eventually said goodbye to her alter ego with a Berlin art show that featured the photos and journal entries from her time as Elle Peril alongside IvyGate articles and documentations the traumas she had experienced as Lena Chen. Ms. Chen said she has been able to fully process and move on from her days as “the Harvard harlot.” She now spends her time curating art shows and events focused on helping other women heal from trauma.
最后，陳莉娜通過在都柏林舉辦一個藝術(shù)展，向她的另一個自我揮別。那次展覽展出了她在化名艾爾·佩里爾期間拍攝的照片和寫的日記，還有IvyGate時期的那些文章和文件，它們記錄了她作為陳莉娜所經(jīng)歷的創(chuàng)傷。她說，自己已經(jīng)從“哈佛蕩婦”的日子中走出，可以完全坦然地審視那段日子，繼續(xù)向前。現(xiàn)在，她把時間花在藝術(shù)策展，以及專門幫助其他女性治愈創(chuàng)傷的活動上。
Aliza Shvarts
阿莉扎·施瓦茨(Aliza Shvarts)
Age: 32. Alma Mater: Yale University. Major: Art.
年齡：32歲 母校：耶魯大學(xué) 專業(yè)：藝術(shù)
Controversy: As an undergraduate, Ms. Shvarts embarked on a monthslong performance art project during which she said she inseminated herself with semen donated by men she termed “fabricators,” then triggered menstruation (or, possibly, miscarriage) with an herbal abortifacient.
爭議：還是一名本科生時，施瓦茨開始了一個為期一個月的行為藝術(shù)計劃。她說，在這個計劃中，她用被她稱之為“捏造者”的男性捐獻的精液給自己受精，然后用一種草本墮胎藥引發(fā)月經(jīng)(或者可能是流產(chǎn))。
Though Ms. Shvarts intended her project to be an exploration of the female reproductive system and a commentary on the art world’s gender dynamics, not all media outlets saw the nuance. Interest in Ms. Shvarts’s “abortion art” died down shortly after the Yale administration released a statement dismissing Ms. Shvarts’s project as a “creative fiction,” a label she has always rejected.
盡管施瓦茨的本意是用這個項目來探索女性生殖系統(tǒng)，以及對藝術(shù)界中性別動態(tài)作出評論，但并非所有媒體都看到了其中的細微差別。耶魯校方發(fā)表聲明否定了她的項目，將其稱為“創(chuàng)意性的編造作品”——這是她一直拒絕接受的一個標簽——后不久，人們對施瓦茨的“墮胎藝術(shù)”的興趣就消退了。
Aftermath: Ms. Shvarts graduated from Yale a few weeks after captivating the blogosphere and believes the attention hurt her chances at finding an internship or placement in graduate school. One program administrator, she recounted, “asked me if I was sorry for what I did to Yale. I said no. Shortly after, I got the news that I was rejected.” 后果：施瓦茨在博客圈引起關(guān)注幾周后就從耶魯大學(xué)畢業(yè)了，她認為這種關(guān)注損害了她在研究生院找到實習或工作的機會。她回憶道，一個項目負責人“問我是否為我對耶魯?shù)乃魉鶠楦械奖?。我說沒有。不久之后，我收到了被拒絕的消息。”
A daughter of immigrants who had attended college on a full scholarship, Ms. Shvarts began to fear that she’d “lost the elite world that Yale had delivered me into.” Then she was admitted to a Ph.D. program at New York University.
施瓦茨是移民的女兒，用全額獎學(xué)金讀大學(xué)，她開始擔心自己“失去了耶魯帶我進入的精英世界”。后來她被紐約大學(xué)(New York University)的博士項目錄取。
Still, Ms. Shvarts said in an interview, she feels routinely expected to answer for the actions of her college self — or the version of it depicted in the media. “It’s not about me, it’s not about my work, it’s not any engagement with my work,” she said.
盡管如此，施瓦茨在一次采訪中說，她覺得她常常被要求對自己在大學(xué)時的行為——或者說媒體描述的行為——負責。她說：“這與我無關(guān)，與我的作品無關(guān)，也不是與我的作品的交流。”
The tension between who Ms. Shvarts is and what she is known for has been explored in much of the art that she has produced over the past 10 years. Displayed at New Haven’s ArtspaceOne this past spring, one piece in particular, “How Does It Feel to Be a Fiction?” invited viewers to consider the boundaries between real and the fake. An earlier iteration appeared in the fall of 2016 as part of an exhibition exploring the question of fake news.
過去10年以來，她用自己創(chuàng)作的很多藝術(shù)作品探索了施瓦茨是誰，她以什么為人所知之間的緊張關(guān)系。今年春天在紐黑文的藝術(shù)空間一號(ArtspaceOne)展出的作品中，一個名為《成為一個編造作品的感覺如何?》(How Does It Feel to Be a Fiction?)的作品邀請觀眾思考真實和虛假的界線。2016年秋，她這個作品的早期版本出現(xiàn)在了一個探索假新聞問題的展覽上。
While others artists explored the way “fake news” had been used to achieve large-scale political ends, Ms. Shvarts examined the way media is often used to silence and invalidate marginalized experiences. “Some of us live as fake news,” she said, noting that her experience as an object of media fascination increased her empathy for those whose stories are inaccurately depicted.
當其他藝術(shù)家探索了“假新聞”被用來實現(xiàn)大規(guī)模政治目的的方式，施瓦茨研究了媒體經(jīng)常被用來使邊緣化體驗變得沉默和無價值的方式。“我們中的一些人像假新聞一樣地活著，”她說，并指出她作為媒體關(guān)注對象的經(jīng)歷，讓她對那些人生經(jīng)歷被不準確地描述的人感到更加同情。
Ms. Shvarts describes her New Haven exhibition as “an act of closure.” In addition to showcasing a selection of works she has created over the past decade, it also featured elements of the unseen art piece that initially brought her attention. 施瓦茨把她在紐黑文的展覽描述為“一個終結(jié)”。除了展示她在過去十年創(chuàng)作的一系列作品以外，展覽還展示了那個最初讓她受到關(guān)注的未示人作品的許多元素。
Karen Owen
凱倫·歐文(Karen Owen)
Age: 30. Alma Mater: Duke University. Major: History.
年齡：30歲 母校：杜克大學(xué) 專業(yè)：歷史
Controversy: At the end of her time at Duke, Ms. Owen decided to pass on some of her accumulated wisdom in the form of a “thesis” recounting and ranking her sexual partners during her years as a student.
爭議：在杜克大學(xué)的最后一段時間，歐文決定以“論文”的形式回憶她在學(xué)生時代的性伴侶并對其進行排名，以此傳遞她積累的一些智慧。
Although Ms. Owen intended the document, “An Education Beyond the Classroom: Excelling in the Realm of Horizontal Academics,” to be a private joke shared with a handful of friends, it quickly traveled outside that small group, getting forwarded around campus. In the fall of 2010, Ms. Owen’s document was published on the websites Jezebel and Deadspin, appended with an obscene title.
雖然歐文只打算將這份名為“課堂之外的教育：在橫向?qū)W術(shù)領(lǐng)域取得卓越”(An Education Beyond the Classroom: Excelling in the Realm of Horizontal Academics)的文檔作為一個私人笑話與少數(shù)朋友分享，但它很快就被傳到了這個小圈子之外，在校園里傳播開來。2010年秋天，歐文的文檔被發(fā)表在Jezebel和Deadspin網(wǎng)站上，被附上了淫穢的標題。
Aftermath: Never interested in courting public attention, Ms. Owen sought to disappear entirely.
后果：歐文從未對吸引公眾注意感興趣，她試圖完全從關(guān)注中消失。
Agents and editors reached out with promises of book deals, envisioning her as a female counterpart to the vulgar essayist Tucker Max. Ms. Owen turned them down. Within days, her social media presence disappeared; commentators like Caitlin Flanagan of The Atlantic portrayed her as an example of everything wrong with college party culture, but she was nowhere to be found. She declined to be interviewed.
代理商和編輯紛紛承諾幫她出書，把她想象成女版的通俗散文家塔克·馬克斯(Tucker Max)。歐文拒絕了他們。幾天之內(nèi)，她在社交媒體上消失了;如《大西洋月刊》(The Atlantic)的凱特琳·弗拉納根(Caitlin Flanagan)這樣的評論員把她描繪成一個濃縮了大學(xué)派對文化所有問題的例子，但是她卻無處可尋。她拒絕接受采訪。
Emma Sulkowicz
艾瑪·索克維茨(Emma Sulkowicz)
Age: 25. Alma Mater: Columbia University. Major: Art.
年齡：25歲 學(xué)校：哥倫比亞大學(xué) 專業(yè)：藝術(shù)
Controversy: In the spring of 2013, Mx. Sulkowicz, who uses non-binary honorifics and pronouns, filed a complaint with Columbia’s Office of Gender-Based and Sexual Misconduct, accusing a fellow student, Paul Nungesser, of sexual assault.
爭議：2013年春天，索克維茨(Ta選擇使非二元性別的敬語和代詞)向哥倫比亞大學(xué)的性別和性不當行為辦公室(Office of Gender-Based and Sexual Misconduct)投訴，指控同學(xué)保羅·努格瑟爾(Paul Nungesser)性侵犯。
Unsatisfied with Columbia’s response to the complaint, which found Mr. Nungesser “not responsible,” Mx. Sulkowicz expressed frustration through performance art, debuting “Mattress Performance (Carry That Weight)” in the fall of 2014. The project, during which Mx. Sulkowicz carried a mattress identical to those found in Columbia’s dorms when on campus, was widely covered by the press (Mr. Nungusser eventually sued Columbia, which settled for an undisclosed amount).
哥倫比亞對投訴的回應(yīng)是努格瑟爾的行為“不負責任”，這沒有讓索克維茨感到滿意，于是Ta試圖通過行為藝術(shù)表達挫折感，在2014年秋開始了《床墊行為(承擔重負)》(Mattress Performance [Carry That Weight])。進行這個項目期間，索克維茨扛著一張與哥倫比亞大學(xué)宿舍的床墊相同的床墊，被媒體廣泛報道(努格瑟爾最終起訴了哥倫比亞大學(xué)并達成和解，未透露所涉賠償金額)。
Often referred to by the moniker “Mattress Girl,” Mx. Sulkowicz was held up as a symbol of the modern anti-sexual assault movement, alternately celebrated as a champion of survivors’ rights and denigrated as a scorned person hellbent on ruining the reputation of an ex.
常被稱為“床墊女孩”的索克維茨被推崇為現(xiàn)代反性侵運動的象征，也被譽為幸存者權(quán)利的捍衛(wèi)者，或者被詆毀為一個一心要破壞前任名譽的人。
Aftermath: “Mattress Performance” stirred up drama on Columbia’s campus — most notably Lee Bollinger, the president of the university, refused to shake its creator’s hand at graduation — and there was backlash from commentators, including particularly nasty missives from those who deemed Mx. Sulkowicz to be a “pretty little liar” who was just looking for attention.
后果：“床墊行為”在哥倫比亞大學(xué)校園掀起了不少是非——最引人注目的是在畢業(yè)典禮上拒絕與索克維茨握手的校長李·鮑林杰(Lee Bollinger)——也引起了輿論反彈，其中包括那些認為索克維茨是一個只為尋求關(guān)注的“漂亮小騙子”的人寫來的尤其惡毒的信函。
After graduation, Mx. Sulkowicz struggled to carry around the new burden of an outsize reputation. Some of the artist’s first post-college work explored the tension of that particular breed of fame. “Ceci N’est Pas Un Viol,” an eight-minute explicit video, purports to recreate the night of Mx. Sulkowicz’s assault in vivid, excruciating detail, offering up the “proof” that so many commentators seemed to be demanding as “Mattress Performance” went viral.“The Ship Is Sinking,” performed as part of the Whitney Independent Study Program’s studio exhibition, positioned Mx. Sulkowicz as the figurehead of a ship, simultaneously assaulted and strengthened by the vicious remarks of spectators.
畢業(yè)后，索克維茨掙扎著背負一個過大的名聲帶來的新負擔。這位藝術(shù)家大學(xué)后的第一部作品探索了這種特殊名聲產(chǎn)生的緊張。《這不是強奸》(Ceci nest Pas Un Viol)是一段8分鐘的視頻，旨在用清晰、令人痛苦的細節(jié)重現(xiàn)索克維茨被侵犯的那天夜晚，并提供了隨著“床墊行為”被大量傳播后，許多評論人士似乎都要求得到的證據(jù)。《船正在下沉》(The Ship Is Sinking)參加了惠特尼獨立研究項目(Whitney Independent Study Program)工作室展覽，索克維茨作為裝飾船頭的雕像，在受到旁觀者惡毒言論的攻擊同時，也借此增強了自己的力量。
There were also new sources of support, including, notably, Ms. Shvarts, encountered in the midst of “Mattress Performance.” Mx. Sulkowicz credits a friendship with Ms. Shvarts as being a particularly important source of support while navigating the stress of unexpectedly becoming a national public figure. “She’s the first older sister I ever really had,” Mx. Sulkowicz said. “She just really took me under her wing and was supercool.”
她也得到了新的支持來源，特別是在“床墊行為”過程中遇到的施瓦茨。索克維茨認為，在她努力克服意外成為全國公眾人物的壓力時，她與施瓦茨的友誼是一種特別重要的支持來源。“她是我第一個真正的姐姐”，索克維茨說。“她真的在保護我，而且超級酷。”
Mx. Sulkowicz’s latest art piece, “The Floating World”, turns away from the question of what it means to be famous and hated, choosing instead to celebrate other women and feminist artists who’ve faced similar excoriation from the public — that has enabled them not merely to survive but to thrive.”
索克維茨最新的藝術(shù)作品《漂浮的世界》(The Floating World)沒有探討出名和被憎恨意味著什么的問題，而是選擇贊美其他面臨類似的公眾批評——但不僅因此生存了下來，還不斷成長——的女性和女性主義藝術(shù)家。”
