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100 Women Of The Year, A Century Redefined
100位年度女性赋予一个世纪的全新内涵
By Nancy Gibbs
文/南希·吉布斯
Throughout its history, editors of TIME aimed their curiosity at those who broke free of gravity.
纵观历史，《时代》周刊编辑们的好奇心指向的一直都是那些冲破藩篱的人物。
Week after week, year after year, the magazine featured an individual on the cover,
周复一周，年复一年，周刊每期都选出了一位封面人物，
often from Washington but also from Wall Street or Hollywood, from foreign palaces and humming factories, all outstanding and almost always men.
这些人物大多来自华盛顿，却也有来自华尔街或好莱坞的，来自外国宫殿甚至是来自嗡嗡作响的工厂车间的，但他们无一例外都是杰出人物，且无一例外几乎全是男性。
The "great man theory of history,” so aligned with the American gospel of bootstraps and bravado, meant that power boiled down to biography,
与自力更生，故作勇敢的美国信仰严丝合缝的“伟大男性定论历史”的论调意味着权力归根结底就是传记，
and to be on the cover of TIME meant that you had, literally, made big news.
而登上《时代》周刊封面就意味着你，真的，成了轰动一时的大人物。
I wonder how different those weekly assessments would have been had there been any women in the room where they were made.
我很好奇，如果负责评估的房间里有女性成员，这些每周一次的评估又会有何不同？
It would be many decades before TIME's leadership included many women, 90 years before a woman ran the whole thing.
《时代》周刊用了数十年才迎来了第一批女性领导，用了90年才迎来了第一位统领周刊一切事务的女性领导。
Likewise in Congress and courtrooms and corner offices and ivory towers,
国会、法庭、角落（经理）办公室乃至象牙塔里的情形也一样，
it was largely men who were writing the first draft of history, deciding what mattered, and who mattered, and why.
书写历史初稿，决定何事重要，何人重要，为何重要的大多都是男性。
So now that we are marking anniversaries,
正因为如此，值此周年纪念之际，
it was an irresistible exercise to go back and look again, at different ways of wielding power, and the different results derived.
回顾历史，重审历史，审视行使权力的各种方式及不同方式产生的不同结局就成了本刊形势所趋，不可不为之举。
Women were wielding soft power long before the concept was defined.
早在“软实力”这一概念被定义之前，女性就已经在行使这一权力了。
On the 100th anniversary of women's suffrage,
值此女性获得选举权100周年之际，
TIME's editors and collaborators revisited each year since 1920, looking for women whose reach transcended their time.
《时代》周刊的编辑和供稿团队回顾了1920年以来的每一年，力图发掘每一个超越时代的女性。
Their influence in public and private life was not always positive;
她们对社会和个人的影响或许并非总是正面的影响；
part of this exercise is acknowledging failures and blind spots as well as genius and vision.
但我们这一举措的目的也不止是为了向天才和远见致意，还是为了承认她们的失败和盲点。
There were always women who wore the crown, literal or not:
历史从不缺乏王冠加顶的女性，无论是具体意义还是抽象意义上的王冠：
Queen Soraya Tarzi of Afghanistan or Queen Elizabeth II of England, global stateswomen like Golda Meir, Indira Gandhi, Margaret Thatcher, Corazon Aquino.
阿富汗的索拉亚·塔齐女王，英国的伊丽莎白二世女王，又或是戈尔达·梅尔、英迪拉·甘地、玛格丽特·撒切尔、科拉松·阿基诺那样的世界领袖。
But it is interesting that the first woman to appear on the cover of TIME, in the summer of 1923,
然而，有趣的是，首次登上《时代》周刊封面的女性是一位宣称将结束退休生活，到美国巡演的，
was an Italian actor named Eleonora Duse, who had announced that she would come out of retirement to tour the U.S.
名叫埃莉诺拉·杜丝的意大利演员，其登上封面的具体时间为1923年夏天。
"Her art rises to supremacy through her magnificent repression," TIME wrote, "her submersion of personality in her part.”
“她的演技通过惊人的抑制（情绪外露），”《时代》周刊评价道，“和对角色个性的深入打磨得到了升华。”
Honor and glory through "magnificent repression"—a parable of herstory.
通过“惊人的抑制”表演获得荣誉和荣耀——一部讲述她故事的寓言。
Some art forms are more subversive than others, telling stories on the surface with countless layers beneath.
有一些艺术形式比其他艺术形式更具颠覆性，它们表面是在讲故事，内里却充满了一层又一层的内涵。
From a hardscrabble childhood in Chattanooga, Tenn.,
尽管童年时期在田纳西州查塔努加过得十分清苦，
the great blues artist Bessie Smith made her way from street busker to singer to such success that she traveled in a custom railcar.
伟大的布鲁斯艺术家贝西·史密斯还是一步一步从街头艺人变成了能够乘坐定制火车出行的超级歌手。
She recorded "Downhearted Blues" in 1923,
她1923年录制的《忧伤的布鲁斯》
which went on to sell nearly 800,000 copies within the year and eventually made Smith the highest-paid black entertainer of her era.
当年的销量就达到了近80万张，也让她成了她那个时代收入最高的黑人艺人。
She sang of prison and betrayal and capital punishment, of poverty and pain and the complex loves of an openly bisexual woman in the '20s.
她歌唱监狱、背叛和死刑，歌唱贫穷和痛苦，歌唱20年代一位公开的双性恋女性的复杂爱情。
How do we measure that influence on generations of African-American protest music?
我们要如何衡量她的这些歌曲对后世非裔美国人的反抗音乐的影响呢？
译文由可可原创，仅供学习交流使用，未经许可请勿转载。
