本文由微博用户@Maxiv想考MTI翻译自 NPR 播客 Hidden Brain: Why Now?
这一期Hidden Brain 是关于 Me Too 运动的专题报道，并从社会心理学角度进行分析。
原文和图片摘自 http://www.kenw.org/post/why-now 版权归 NPR 所有。
警告
本期节目含有性侵犯的描述，可能不适合部分听众收听。
VEDANTAM: This is HIDDEN BRAIN. I'm Shankar Vedantam. People often stay silent even when they want to speak up. We may think something in private but say nothing in public. This happens to individuals who've suffered abuse. This happens with entire nations. Duke University political scientist Timur Kuran, says that people pay close attention to public opinion and figure out that sometimes, it's wiser to shut up.
VEDANTAM：这是Hidden Brain，我是 Shankar Vedantam。人们也经常保持沉默，即使是在他们想说话的时候。我们可能会私下思考一些事情，但在公开场合却一言不发。这种情况发生在曾受过虐待的个体身上，也遍布整个国家。杜克大学政治学家 Timur Kuran 表示，人们密切关注公众舆论，然后认为有时候保持沉默更为明智。
TIMUR KURAN: The punishments for expressing a controversial view cover a wide range. At one extreme, there could be a knock on your door at 4 o'clock in the morning, and you can be dragged to prison. You could be taken to a concentration camp. There are societies where that happens. But there are much milder forms of punishment. You can be ostracized from a community. You can be rebuked. Your career can be placed in danger.
TIMUR KURAN：表达有争议的观点而受到惩罚，这种现象遍及范围很广。极端一点来说，你可能会被凌晨4点的敲门声叫醒，接着被拖进监狱，也可能是集中营。这种情况在有些社会是真实存在的。但是有更温和的惩罚形式，您可能被驱逐出社区，受千夫所指，职业生涯也岌岌可危。
VEDANTAM: And so people say one thing publicly and believe another thing privately. Timur Kuran calls this preference falsification. When our views clash with what we perceive to be the prevailing currents, we realize it's dangerous to openly express ourselves. A good example is East Germany during Soviet control.
VEDANTAM：这样一来，人们在公众面前发表一种言论，而私下里相信另一种。Timur Kuran 称之为伪造偏好。当我们的观点与我们认为是主流的观点相冲突时，我们意识到公开表达自己是危险的。一个很好的例子就是苏联控制期间的东德。
KURAN: For decades, communism survived by making the populations it ruled afraid to express opposition to the principles of communism and express opposition to the dictatorships that were running the Soviet bloc countries.
KURAN：几十年来，共产主义通过让被统治的民众不敢表达反对共产主义原则并表示反对统治苏维埃集团国家的独裁统治而得以幸存。
VEDANTAM: The silence around Harvey Weinstein's sexual misconduct operated in the same way.
VEDANTAM：对 Harvey Weinstein 的性行为不端的沉默以同样的方式运作。
KURAN: It was an open secret for decades, we've learned, in Hollywood and in circles that Harvey Weinstein traveled in, that he was a predator of young women, but also, that if anybody called him out on this, he would ruin their careers.
KURAN：几十年来，这已经是一个公开的秘密了，在好莱坞和哈维·温斯坦所涉足的圈子里我们已经了解到，他是年轻女性的掠夺者，但是，如果有人叫停他，他就会毁了他们的职业生涯。
VEDANTAM: There are ways to talk about our secrets, ways to voice our truths while maintaining plausible deniability. The best way - humor. This is from the sitcom "30 Rock."
VEDANTAM：也有很多方法可以谈论我们的秘密，表达我们的真相，同时保持合理的隐晦。最好的方式就是——幽默。下面的一段来自情景喜剧 "30 Rock"。
（电视节目的SOUNDBITE，“30 ROCK”）
TRACY MORGAN: (As Tracy Jordan) Don't do it, J-Mo (ph). You don't want to mess with Weird Al.
TRACY MORGAN：（饰演 Tracy Jordan）别这样，J-Mo（ph）。你不想和奇异的 Al 搞乱的。
JANE KRAKOWSKI: (As Jenna Maroney) Oh, please. I'm not afraid of anyone in show business. I turned down intercourse with Harvey Weinstein on no less than three occasions out of five.
JANE KRAKOWSKI：（饰演 Jenna Maroney）哦，拜托。我不害怕演艺界的任何人。五次中不少于三次，我拒绝了和 Harvey Weinstein 发生关系。
VEDANTAM: And several years ago, at an Oscar nomination ceremony, Seth MacFarlane told this joke.
VEDANTAM：几年前，在奥斯卡提名仪式上，Seth MacFarlane 讲了这个笑话。
（2013奥斯卡金像奖的现场片段）
SETH MACFARLANE: The 2012 nominees for best performance by an actress in a supporting role are Sally Field in "Lincoln," Anne Hathaway in "Les Miserables," Jacki Weaver in "Silver Linings Playbook," Helen Hunt in "The Sessions" and Amy Adams in "The Master."
SETH MACFARLANE：2012年最佳女配角获得提名的有：《林肯》中的莎莉·菲尔德，《悲惨世界》中的安妮·海瑟薇，《银色衬里剧本》中的杰克·韦弗，《塞申》中的海伦·亨特和《大师》中的艾米亚当斯。
MACFARLANE: Congratulations. You five ladies no longer have to pretend to be attracted to Harvey Weinstein.
麦克法兰：恭喜。你们五位女士不再需要假装被Harvey Weinstein所吸引。
VEDANTAM: Did you hear that laughter? Everyone got it. Timur says when the Soviet Union tightly controlled East Germany, jokes were common there, too.
VEDANTAM：你听到那个笑声了吗？每个人都明白了。Timur 说，当苏联严密控制东德时，这种笑话在那里也很常见。
KURAN: Jokes about the aging Soviet leaders, jokes about how inefficient the Soviet economy was, jokes about how hollow Marxism was. But when the information about all of these deficiencies of the system were put in jokes, the person telling the joke did not have to take ownership of the claims. Where they drew the line is with writing an article that would go into a newspaper that would put in words, backed up by facts, the deficiencies of the system that you were joking about.
KURAN：有关苏联老龄化领导人的笑话，关于苏联经济效率低下的笑话，开玩笑说马克思主义是多么空洞。但是当关于系统缺陷的信息当做笑话讲出来时，说这个笑话的人不必对这些说法负责。他们在你开的关于体系缺陷的玩笑和登报的白纸黑字印刷出来，由事实支撑的文章之间，画清了一条界限。
VEDANTAM: There is power in the written word. Sometimes it takes a news article to turn whispered injustices into public outrage. But this is where the story of Israel Horovitz gets complicated. Preference falsification was certainly at play in keeping women like Jocelyn Meinhardt silent, but it doesn't explain everything. In 1993, an envelope showed up in a Boston newsroom in the mailbox of a theater critic.
VEDANTAM：书面文字中有种力量。有时需要一篇新闻报道才能将窃窃私语的议论变成一种公愤。但这就是 Israel Horovitz 的故事变得复杂的地方。伪造偏好确实让 Jocelyn Meinhard 这样的女性保持沉默，但是不能解释得了所有的事情。1993年，一个信封出现在波士顿新闻编辑室的剧院评论家的邮箱中。
BILL MARX: A sort of plain, white envelope addressed to me.
BILL MARX：一封寄给我的普通的白色信件。
VEDANTAM: This is Bill Marx. He now teaches at Boston University. But back in the early '90s, he was writing for the Boston Phoenix.
VEDANTAM：这是 Bill Marx。他现在在波士顿大学任教。但是在90年代早期，他正在执笔与波士顿的凤凰报。
MARX: Which is part of what was then a very proud tradition of alternative presses.
马克思：这是当时 alternative press 非常骄傲的传统的一部分。
（注：Alternative Press是一个美国的音乐杂志，公司设立于俄亥俄州。由 Mike Shea 成立于1985年，目前他是公司的总理，而 Katherine Poecze 是公司主要的负责人，总编辑 Jason Pettigrew、音乐编辑 Scott Heisel。）
VEDANTAM: Bill wrote theater reviews. So when he tore open the envelope in his mailbox, he was expecting what he usually received - a hate note from a pissed-off actor. That is not what he found. This was a different kind of note.
VEDANTAM：比尔写剧评。因此，当他在邮箱中撕开信封时，他以为是他经常会收到的那种来自一个气急败坏的演员的恶毒留言。但事实并不是如此。这是另一种留言。
MARX: And it essentially was a plea from an anonymous woman at the Gloucester Stage Company, saying that they were being molested, that they were being, you know, sexually harassed by the artistic director, that they had - I remember that they, in the note, mentioned that they created a buddy system to protect each other, and they wanted some help. And it was really - to me, when I read it, it was a cry for help.
马克思：这主要是来自格洛斯特舞台公司的一位匿名女士的请求，说她们被骚扰，他们，你懂的，被艺术总监性骚扰，我记得他们在该笔记提到他们创建了一个伙伴系统来互相保护彼此，他们急需一些帮助。对我来说，那真的是在我看来，它是一个求助的哭喊。
VEDANTAM: Bill was stunned. He wasn't really a reporter, let alone an investigative reporter. And yet, he says, it felt like he'd been singled out to do something, like he was being tested.
VEDANTAM：比尔惊呆了。他不是一个真正的记者，更不用说调查记者了。他还说，感觉他单枪匹马的要做这件事，就像正在接受考验一样。
MARX: I wanted to check it out. I didn't immediately go, oh, this must be true. But I felt, well, I'm hearing this note. It sounded authentic to me, at least enough to where I wanted to start going out and talking to the actresses to see whether it was true or not.
马克思：我想去核实一下，但是我没有马上去。哦，这一定是真的。但我觉得，我被这些留言召唤着。这对我来说听起来太真实了，至少足以让我开始走出去和女演员交谈以确定它是不是真的。
VEDANTAM: He started reaching out to women he knew had worked at the Gloucester Stage Company.
VEDANTAM：他开始接触他认识的曾在格洛斯特舞台公司工作过的女性。
MARX: Sometimes I would have to call two or three times. At times, they were reluctant. They will say, well, I'd like to talk, but I can't talk now, or let me think about this.
马克思：有时候我要打两三遍电话。有时，他们不太愿意。他们会说，好吧，我想谈谈，但是我现在不想谈，或者让我想一想再说。
VEDANTAM: But slowly, women began to tell him their stories.
VEDANTAM：然后慢慢地，女人们开始告诉他他们的故事。
MARX: I mean, there was a tremendous amount of feeling, particularly among the actresses, that if this came out, they would not get jobs; they'd be labeled as being very difficult to work with. So that - they were putting a lot on the line when they were doing this.
马克思：我的意思是，有很多这样的感觉，特别是在女演员中间，如果这件事暴露了，他们就不会得到工作; 他们被贴上难以共事的标签。就这样，他们这样做的时候真的是孤注一掷。
VEDANTAM: It's important to note that at this time, Israel Horovitz was a big fish in a small pond. He was an internationally known playwright, running a powerhouse theater in an old, gritty fishing town.
VEDANTAM：值得注意的是，此时，Israel Horovitz 是一个小池塘里的大鱼。他是一位国际知名的剧作家，在一个古老渔镇里经营着一个强大的剧院。
MARX: He had a bit of celebrity star power. And he used to drive around Gloucester in a little sports car with a license plate that had author in - you know, in capital letters. And he used to wear sort of a beret.
马克思：他有一点名人明星的架子。他过去常常驾驶一辆带有「作家」牌照的小型跑车在格洛斯特附近驾驶——你懂的，还都是大写字母表示。他过去常常戴着贝雷帽什么的。
In the 1990s, Laura Crook
In the 1990s, Laura Crook performed in the Israel Horovitz plays Strong-Man's Weak Child and North Shore Fish. Crook says Horovitz assaulted her on multiple occasions.
COURTESY OF LAURA CROOK
在20世纪90年代，Laura Crook 在 Israel Horovitz 制作的戏剧 Strong-Man's Weak Child 和 North Shore Fish 中出演。Laura Crook 指控 Israel Horovitz 曾多次强奸她。
Poster for Israel Horovitz's production of North Shore Fish, whose cast included actor Laura Crook. Crook was one of the women who anonymously accused Horovitz of sexual misconduct in 1993.
COURTESY OF LAURA CROOK
Israel Horovitz 制作的戏剧 North Shore Fish 海报，演员包括演员 Laura Crook。 Crook 是1993年匿名指控 Horovitz 性行为不端的妇女之一。
照片由 LAURA CROOK 提供
VEDANTAM: Laura Crook remembers that vanity plate. She's one of the women who reached out to Bill with a story to share. They agreed to meet in his apartment.
VEDANTAM：Laura Crook 记得那种虚荣啊架子。她是来与比尔分享故事的女性之一。他们相约在他的公寓见面。
CROOK: We went in, sat down. He gave me a glass of water and had his little tape recorder. Then he said, you know, we'll start when you're ready.
克罗克：我们进屋坐下。他给了我一杯水，打开了他的小录音机。然后他说，准备好了就开始。
VEDANTAM: In the summer of 1989, she said she attended the Gloucester Stage Company's production of "The Widow's Blind Date." She told Bill she fell in love with the small black box theater and jumped at an opportunity to audition for Israel the following year.
VEDANTAM：1989年夏天，她说她参加了格洛斯特舞台公司制作的《寡妇相亲》。她告诉比尔，她爱上了这个小黑匣子剧院，并在第二年抓住了为 Israel 试镜的机会。
CROOK: And I went in, and I think I either asked him if he - what he wanted, or he said, you know, OK do the monologue, and I want you to cry three times. And I said, OK. And I did the monologue, and I cried three times. And then a couple days later, they asked me if I would understudy. And I said, yes, absolutely.
CROOK：然后我进去了，我想要么是我要求的要么是他想要的，他说让我试一段独白，想让我哭三次。我说好吧，然后我念了独白，哭了三次。然后几天后，他们问我愿不愿意做替补。我说，好啊，当然愿意了。
VEDANTAM: But even before she started the new gig, a friend in the Boston theater world told her...
VEDANTAM：但在她开始新演出之前，波士顿戏剧界的一位朋友告诉她......
CROOK: Hey, try not to be alone with him. And I said, OK (laughter). You know, that's going to be - she's like, just try not to be alone with him.
克罗克：嘿，尽量不要和他独处。我说，好的（笑）。你知道，那样就会——她像是说，反正尽量不要和他单独相处。
VEDANTAM: Once she got to Gloucester, another actress issued the very same warning.
VEDANTAM：她到了格洛斯特的时候，另一位女演员发出同样的警告。
CROOK: Try not to be alone with him.
克鲁克：尽量不要和他单独在一起。
VEDANTAM: Rehearsals began. One day, as other actors worked on a scene, Israel called Laura over.
VEDANTAM：排练开始了。有一天，当其他演员在场上排练时，Israel 打电话叫劳拉过去。
CROOK: And Israel said, hey, why don't we go in the greenroom so we can work on your monologue? And I said, OK, because that's totally normal. There's nothing at all - that's absolutely normal to do. So we went into the greenroom, and we sat down on the couch, and I say, so let's just read through the monologue. And I started to read through it, and then he just was on me, and he had his tongue in my mouth and his hand down my shirt. And I jumped up and made a joke. I said, ha-ha, that's not in the script, ha-ha. He came at me again, and I pushed him away. And I don't know what I said then. I think it's - a lot of blood rushes to your ears in situations like that, and you just kind of figure out how the hell to get out of there.
CROOK：Israel 说，嘿，为什么我们不到休息室里去，这样我们就可以联系你的独白了？我说，好的，因为那是完全正常的。根本没什么的 - 这是绝对正常的。所以我们走进了休息室，我们坐在沙发上，我说，所以让我们仔细读一下独白。我开始通读它，然后他就在我身体上方，他的舌头在我的嘴里游荡，他的手伸进我的衬衫里游走。我跳了起来，开了个玩笑。我说，哈哈，那可不是剧本写的，哈哈哈。他再次来到我面前，我把他推开了。我当时不知道我说了什么。我想是——在这样的情况下，很多鲜血涌向你的耳朵，你只是想弄清楚怎么离开那里。
VEDANTAM: Laura says she wasn't the only one at the theater fending off Israel's advances, so she worked out a buddy system with another woman.
VEDANTAM：Laura 说她并不是剧院中唯一一个抵挡 Israel 得寸进尺的人，所以她和另一个女人制定了一个伙伴体系。
CROOK: Israel didn't like lipstick. He didn't like red lipstick. And so we had a tube of lipstick. I had it in my box on my dressing table. So we would always put on lipstick when he was around.
克罗克：Israel 不喜欢口红。他不喜欢红色唇膏。所以我们有一支口红。我把它放在梳妆台上的盒子里。所以我在他身边的时候总会涂上口红。
VEDANTAM: Another time, Israel asked Laura to come into the shop to hand her some notes. Laura caught the eye of her friend.
VEDANTAM：另一次，Israel 要求 Laura 进入工作室交给她一些笔记。劳拉引起了她朋友的注意。
CROOK: I mean, in true black comedy, it was - she was the technical director, but she kept announcing that she was coming into the shop to get a tool of some sort. She was like, I'm going to get a hammer. And then she'd go in, and she'd get the Shop-Vac and walk out. Like, she would not get what she was talking about. And then he would try to kiss me, and then she would come back in and interrupt us again.
CROOK：我是说，在那出真正的黑色喜剧中，她是技术总监，但她一直说她要到工作室里拿什么工具。她就像说，我要去拿个锤子。然后她就进去了，她拿了吸尘器然后走了出去。就像，她不会总拿不到她说的东西。然后那时他会试着吻我，这时她就会再回来打断我们。
VEDANTAM: It was a kind of job a person would want to quit as fast as possible. And yet, when Laura was asked back for another summer of work, she said yes.
VEDANTAM：这是一个想让人尽快离开的工作。然而，当劳拉被要求再回去工作一个夏天时，她答应了。
CROOK: You know, I've been thinking a lot about that - a lot recently, but I think over the years, I think about it. I wanted to work. Like, there's just not a lot of work out there. I mean, it's a hard job. It's a hard career. And he wasn't always assaulting you. Sometimes you'd have these really great conversations about show business, and theater, and being creative and the art that we all make. And so I just - I wanted to believe otherwise. You just try to make sense of it so that you can live in this world.
CROOK：你知道，最近关于这件事我想了很多很多，但其实我已经翻来覆去想了几年了。我想工作。就像，在那之外就没有太多工作了。我的意思是，这是一项艰苦的工作，这是一个难熬的职业生涯。但他并不总是在骚扰你。有时会有关于演艺事业，戏剧，如何创新以及我们一起做的艺术的非常棒的对话。所以我只是不想去那样想。你要试着理解它，这样你才能在这世界立足啊。
VEDANTAM: Bill Marx understood the dilemma Laura and the other women faced.
VEDANTAM：比尔马克思理解了劳拉和其他女人所面临的困境。
MARX: I mean, their careers were on the - they felt their careers were on the line, that they would be labeled as difficult, they'd be labeled as man haters, they'd be labeled as, you know, somehow making things up about Horovitz, who apparently was telling everyone that this is just part of his sort of, you know, theater/Hollywood, kissy-kissy, huggy-huggy demeanor.
马克思：我的意思是，他们觉得自己的职业生涯危如累卵，他们会被贴上难相处的标签，他们会被贴上标记为仇恨者的标签，他们会被贴上对 Horovitz 胡编乱造的标签。他显然告诉大家，这只是他的一部分，你知道，剧院、好莱坞、亲亲抱抱这样的行为。
VEDANTAM: Two of the women told Bill they'd complained to the stage company's board of directors, but to their knowledge, nothing had been done. When Bill reached out to the board president, he was told the women's stories didn't fit the legal definition of sexual harassment. On August 6, 1993, the Boston Phoenix published Bill's article. It included the stories of six women. They chose to remain anonymous but said they would identify themselves if the paper was sued. A week later, the Phoenix published a follow-up story after four more women came forward. Three were nannies who'd worked in Israel's house.
VEDANTAM：其中两位女士告诉比尔，他们向舞台公司的董事会投诉，但据他们所知，并没有掀起任何波澜。当比尔联系董事会主席时，他被告知女性的故事不符合性骚扰的法律定义。1993年8月6日，波士顿凤凰城发表了比尔的文章。其中包括六位女性的故事。他们选择保持匿名，但表示，如果报纸被起诉，他们会站出来表明自己的身份。一周之后，在另外四个女人站出来之后，凤凰城刊登了一个后续故事。其中三个是曾在 Israel 家里工作的保姆。
MARX: To me, I absolutely proved what was going on, given the number of women and the activities. Then, you know, when the second article came out and I was called - all the nannies had called me and, suddenly, I had - and, you know, some other women contacting me, then I felt that, A, I've opened the floodgates. Now they're definitely going to have to do something. How can they ignore this? But it was ignored.
马克思：对我而言，鉴于女性和活动的数量，绝对向我证实了正在发生的事情。然后，你知道，当第二篇文章出来后我接到了一些电话——突然间所有的保姆都打电话给我，而且，你知道，还有一些其他女人联系我，然后我觉得，呃，我打开闸门。现在他们肯定要有所作为了。他们怎么能忽视这个呢？但它确实被忽略了。
VEDANTAM: Officials at the theater recently said that in 1993, they conducted an investigation and crafted a new sexual harassment policy. The theater said Israel flatly denied the charges and that the women who spoke to Bill did not come forward to identify themselves. But in Bill's article, the board president is also quoted as characterizing the women as tightly wound. Laura Crook remembers being really angry and really sad.
VEDANTAM：剧院的官员最近说，他们在1993年进行了调查并制定了新的性骚扰政策。剧院声称 Israel 断然否认这些指控并且与比尔谈话的妇女并没有站出来表明自己的身份。但在比尔的文章中，董事会主席也被引用为将这些女性描述为夸大其词故意挑事。Laura Crook 记得当时真的特别生气，真的特别伤心。
CROOK: But mostly, like, OK, that's it. OK. I mean, we were two years out of Anita Hill, so we saw how that went. It wasn't much of a surprise. It was just - I hadn't thought about how much it hurt until now, until all of it resurfacing again, what it is to be - to know you're telling the truth and to be summarily dismissed.
CROOK：但大多数情况下，好吧，就是这样。好。我是说，我们离开安妮塔山两年，所以我们看到这都是如何发生的。这并不奇怪。这只是——我没想到知道今天它依然有这么大的伤害，直到所有这一切再次重新浮出水面，就是说——即使知道你说的是实话，依然被草率驳回。
VEDANTAM: Laura and Jocelyn's stories help us understand why the #MeToo movement didn't take off 25 years ago. Timur Kuran would call it preference falsification. Princeton psychology professor Betsy Paluck cites a complimentary idea known as social proof. When people are deciding whether to step forward and say something, they look at what happened to others who stepped forward before them.
VEDANTAM：Laura 和 Jocelyn 的故事帮助我们理解为什么 #MeToo 运动25年前没有兴起。Timur Kuran 称之为偏好伪造。普林斯顿心理学教授 Betsy Paluck 引用了引用了一个被称为社会证明的概念。当人们决定是否站出来发声时，他们会看向在他们面前挺身而出的人身上发生了什么。
BETSY PALUCK: It's social proof at its most basic. We want to know - we wonder how we'll be treated if we step forward to blow the whistle on a certain kind of behavior. And we need sometimes to watch someone else do it and to see what, realistically, are the consequences?
BETSY PALUCK：这是最基本的社会证明。我们想知道——我们想知道如果我们站出来告发某种行为，我们将被如何对待。而且我们有时需要观察其他人这样做，并从现实角度看待后果是什么？
VEDANTAM: When Laura and other actors revealed their stories and found it made no difference, other women received a clear message - shut up, stay silent.
VEDANTAM：当 Laura 和其他演员揭露了他们的故事并发现它没有产生影响时，其他女性收到了一个明确的信息——闭嘴，保持沉默。
PALUCK: Women especially used to watch other women report and maybe lose their jobs or just not be heard at all or be disparaged. So that is the kind of social proof that used to inform women's decisions about reporting sexual harassment.
帕拉克：女性特别习惯观看其他女性的报道，她们可能会失去工作，或者根本就没有被听到或被轻视。这就是那种影响女性报告性骚扰的决定的社会证据。
若想更及时地收到播客推荐及相关资讯，鼓励你在以下社交平台关注我们（各平台发布的文章和资讯均各特色）：
（如何订阅播客节目，iOS系统请参照此文章，Android系统请参照此文章）
网友评论