Woman’s place & Girlhood

Emotional Jon Stewart Addresses Retirement on Air: "It's Been an Absolute Privilege" (Video)
8:39 PM PST 2/10/2015 by Aaron Couch

退任スピーチについて丁寧に説明している記事ですが、動画の2分30秒あたりについてが以下です。

Getting emotional, he pounded on his desk to stave off tears and did an impersonation of Frankenstein's monster.

"What is this fluid? What are these feelings? Frankenstein angry!"

He ended by calling it an honor to host the show.

"It's been an absolute privilege. It's been the honor of my professional life, and I thank you for watching it. For hate-watching it. Whatever reason you were tuning in for," Stewart said.

今月は100分de名著で『フランケンシュタイン』を取り上げているので、ついFrankenstein angry!に反応してしまいました。ロングマンでもPeople sometimes mistakenly call the creature Frankenstein, instead of the scientist who made it.と書いているように怪物を生み出したのがフランケンシュタインであって、怪物には名前がないんですよね。

（ロングマン）
Frankenstein
a novel by Mary Shelley, which was published in 1818 and tells the story of a scientist, called Frankenstein, who makes a creature by joining together bits of dead bodies. The creature is gentle at first, but later becomes violent and attacks its maker. People sometimes mistakenly call the creature Frankenstein, instead of the scientist who made it.

規範的な立場をとると思われたオックスフォードですが、こちらは通常の使われ方の語義と用例を載せています。用例を調べるには、こちらの方がありがたいですね。

（オックスフォード）
Frankenstein
used to talk about something that somebody creates or invents that goes out of control and becomes dangerous, often destroying the person who created it

The organization has now become a Frankenstein monster beyond the control of the people who created it.

If you were going to do a Frankenstein and put a swimmer together from scratch, you would build Michael Phelps

Can genetic engineering shake off its Frankenstein image?

From the novel Frankenstein by Mary Shelley in which a scientist called Frankenstein makes a creature from pieces of dead bodies and brings it to life.

「フンガ、フンガのフランケン」と、一般的には知能が足りない力持ちのように描かれやすいですが、原作では言葉を覚えたりしてむしろ知能は高いことも知りました（汗）



単にJon Stuartが辞めることになって残念だぐらいにしか思っていなかったのですが、Lean Inの共著者でもあるNell Scovellが女性ホストが代わりを務めることがない状況を嘆いているエッセイをNYTに寄稿していました。彼女自身David Lettermanのショーのスタッフだったようです。



エッセイでmen are promoted on potential and women on performanceで、women are stuck in a Catch-22: Women can’t prove they can do the job until they get it, and they can’t get it until they prove they can do it.と語っています。英語学習者としてはCatch-22のわかりやすい例となります。

A Woman’s Place Is on Late Night
Goodbye, Jon Stewart. And Hello to a Host of Possibilities
By NELL SCOVELL FEB. 13, 2015

Now, all these hosts are talented and deserving. Their worthiness is not the issue. The issue is that they are not representative of the available talent. Nor do they reflect the audience. For example, Mr. Letterman’s audience is around 55 percent female. So why are women considered only for “next time”? Maybe it’s because studies show that men are promoted on potential and women on performance. This makes it far easier for a relative neophyte like Mr. Corden to get the nod at CBS while women are stuck in a Catch-22: Women can’t prove they can do the job until they get it, and they can’t get it until they prove they can do it.

These franchises are big money generators, so networks feel it’s important to limit any risk. But Oprah Winfrey and Ellen DeGeneres have been plenty profitable in daytime. And while the old notion was that Americans wanted to “go to bed with” the charming Johnny Carson, on-demand viewing has changed the dynamic. More and more, we’re watching nighttime TV during the day, on our smartphones and tablets. Yet the host model remains stuck on a dad in a 1960s living room.



これと同じような指摘がアカデミー賞最有力の作品Boyhoodでもあったのを思い出しました。確かに活発な少女だったSamanthaは映画の後半になるにつれて脇にやられてしまっています。

What ‘Boyhood’ Shows Us About Girlhood
In Richard Linklater’s Oscar-nominated movie, a boy grows independent even as his sister loses her self-confidence
By SHARON MARCUS and ANNE SKOMOROWSKY
Updated Feb. 6, 2015 4:33 p.m. ET

Even in early adolescence, Samantha remains outspoken, challenging her controlling stepfather about the pointlessness of dusting, worrying about her stepsiblings when he turns abusive and her mother flees the house.

But in the film’s last hour, Samantha starts to fade. Her speech and voice start to disintegrate audibly: She speaks less, signals uncertainty with the constant use of the filler phrase “I mean” and punctuates many of her statements with a nervous laugh. At Mason’s high school graduation party, she makes a toast only after being prompted to do so.

By contrast, as Mason gets older, he speaks in a loud, deep voice and expresses himself in well-formed sentences, unhampered by nervous tics and distracting phrases. The teenage Mason is full of ideas and grows in confidence with every passing year.

言われてみるとこのBoyhoodという映画は、父親は子育てをせずに音楽家になる夢を追いかけ、少年もカメラに熱中していきます。その間、母親や娘が我慢を強いられているというのがWSJでのエッセイの主張です。

One of the achievements of “Boyhood” is to show us how girls are discouraged from putting themselves first. A boy can dream, the film suggests, but a girl…not so much.

AdichieのフェミニズムのTEDスピーチの世界そのものが今でも根強くあるということでしょうか。



We say to girls: You can have ambition, but not too much. You should aim to be successful but not too successful, otherwise you will threaten the man.