ABOUT THE SPEAKER
Liza Donnelly - Cartoonist
New Yorker cartoonist Liza Donnelly tackles global issues with humor, intelligence and sarcasm. Her latest project supports the United Nations initiative Cartooning For Peace.

Why you should listen

When Liza Donnelly joined The New Yorker in 1982, she was the youngest cartoonist on staff and one of only three women at the time to draw cartoons for the magazine. She’s still there. In 2005, Donnelly wrote the definitive book about her colleagues: Funny Ladies: The New Yorker’s Greatest Women Cartoonists and Their Cartoons. She’s been part of many other books, including Sex and Sensibility, Cartoon Marriage (about her life with fellow New Yorker cartoonist Michael Maslin) and a popular series of dinosaur books for kids. Her latest is Women on Men.

In 2007, Donnelly joined the United Nations initiative Cartooning for Peace. She travels worldwide to speak out about freedom of speech, world peace, and other global issues. Along with her New Yorker cartoons, Donnelly writes a column for Forbes, and draws a weekly political cartoon for Medium. She's a founding member of the US branch of the international organization FECO, and has taught at Vassar College and The School of Visual Arts. She received an honorary PhD from the University of Connecticut and is a cultural envoy for the US State Department, traveling to speak about women's rights, freedom of expression and cartoons.

More profile about the speaker
Liza Donnelly | Speaker | TED.com
TEDWomen 2010

Liza Donnelly: Drawing on humor for change

莉莎·唐納利(Liza Donnelly):借助幽默繪畫求改變

Filmed:
1,435,431 views

《紐約客》漫畫家莉莎·唐納利(Liza Donnelly)全面分享她的聰頡, 運用有趣的漫畫描繪現代生活 -暢談如何幽默可以使婦女有能力改變規則。
- Cartoonist
New Yorker cartoonist Liza Donnelly tackles global issues with humor, intelligence and sarcasm. Her latest project supports the United Nations initiative Cartooning For Peace. Full bio

Double-click the English transcript below to play the video.

00:17
(Laughter笑聲)
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(眾笑)
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I was afraid害怕 of womanhood女大十八變.
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我曾經很怕女性特質。
00:27
Not that I'm not afraid害怕 now,
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我不能說我現在不害怕了,
00:29
but I've learned學到了 to pretend假裝.
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但我已經學會了偽裝。
00:31
I've learned學到了 to be flexible靈活.
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我已經學會了靈活。
00:33
In fact事實, I've developed發達 some interesting有趣 tools工具
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事實上,我已經開發了一些有趣的工具
00:35
to help me deal合同 with this fear恐懼.
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來幫助我對付這種恐懼。
00:37
Let me explain說明.
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讓我解釋一下。
00:39
Back in the '50s and '60s, when I was growing生長 up,
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早在50年代和60年代,就是我成長的年代,
00:41
little girls女孩 were supposed應該 to be kind and thoughtful周到
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小女孩應該是善良、體貼、
00:43
and pretty漂亮 and gentle溫和 and soft柔軟的,
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漂亮、溫婉和輕柔的。
00:46
and we were supposed應該 to fit適合 into roles角色
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而我們應該適應角色
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that were sort分類 of shadowy神出鬼沒 --
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是有點朦朧。
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really not quite相當 clear明確 what we were supposed應該 to be.
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真的不是很清楚什麼應該是我們。
00:52
(Laughter笑聲)
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(眾笑)
00:56
There were plenty豐富 of role角色 models楷模 all around us.
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我們周圍有很多榜樣。
00:58
We had our mothers母親, our aunts阿姨, our cousins表兄弟, our sisters姐妹,
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我們有我們的母親、我們的阿姨、我們的堂表姐妹、姐妹,
01:01
and of course課程, the ever-present永遠存在 media媒體
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以及,當然,永遠存在的媒體
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bombarding轟擊 us with images圖片 and words,
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用圖像和文字轟炸我們,
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telling告訴 us how to be.
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告訴我們應該如何做。
01:09
Now my mother母親 was different不同.
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而我的母親是不同的。
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She was a homemaker家庭主婦,
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她是一個家庭主婦,
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but she and I didn't go out and do girlie娘娘腔 things together一起,
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但她和我沒有出去一起做娘娘腔的東西。
01:15
and she didn't buy購買 me pink outfits服裝.
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她並沒有給我買粉紅色的衣服。
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Instead代替, she knew知道 what I needed需要, and she bought me a book of cartoons卡通.
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相反,她知道我需要什麼,她給我買了漫畫書。
01:20
And I just ate it up.
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而我對它愛不釋手。
01:22
I drew德魯, and I drew德魯,
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我畫了又畫,
01:24
and since以來 I knew知道 that humor幽默 was acceptable接受 in my family家庭,
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因為我知道在我家是可以接受幽默的,
01:27
I could draw, do what I wanted to do,
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我可以畫畫,做我想做的事,
01:29
and not have to perform演出, not have to speak說話 --
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而不用表演、不用說話 --
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I was very shy害羞 --
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我曾經很害羞 --
01:33
and I could still get approval贊同.
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而我仍然可以得到認同。
01:36
I was launched推出 as a cartoonist漫畫家.
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我被推為一個漫畫家。
01:40
Now when we're young年輕,
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正當我們年輕的時候,
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we don't always know. We know there are rules規則 out there,
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我們並不總是知道 -- 我們知道外面有規則,
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but we don't always know --
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但我們並不總是知道 --
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we don't perform演出 them right,
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我們沒有正確執行它們,
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even though雖然 we are imprinted at birth分娩
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儘管在我們出生時就存在
01:51
with these things,
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有這些東西,
01:54
and we're told
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我們被告知
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what the most important重要 color顏色 in the world世界 is.
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什麼是世界上最重要的顏色。
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We're told what shape形狀 we're supposed應該 to be in.
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我們被告知我們應該是什麼形狀。
02:02
(Laughter笑聲)
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(眾笑)
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We're told what to wear穿 --
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我們被告知應該穿什麼衣服 --
02:07
(Laughter笑聲)
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(笑)
02:09
-- and how to do our hair頭髮 --
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-- 和我們的頭髮應該怎麼辦 --
02:11
(Laughter笑聲)
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(笑)
02:16
-- and how to behave表現.
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-- 還有如何行為舉止。
02:19
Now the rules規則 that I'm talking about
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現在我在說的規則
02:21
are constantly經常 being存在 monitored監控 by the culture文化.
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是不斷地被文化監測的。
02:23
We're being存在 corrected修正,
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我們被糾正。
02:25
and the primary policemen警察 are women婦女,
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而這些基層民警是女性,
02:28
because we are the carriers運營商 of the tradition傳統.
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因為我們正是這傳統的繼承者。
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We pass通過 it down from generation to generation.
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我們將它傳遞了一代又一代。
02:34
Not only that --
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此外,
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we always have this vague模糊 notion概念
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我們總是有種模糊的概念
02:38
that something's什麼是 expected預期 of us.
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有些什麼東西在期望著我們。
02:40
And on top最佳 of all off these rules規則,
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而在所有這些規則之上,
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they keep changing改變.
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他們不斷發生變化。
02:45
(Laughter笑聲)
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(眾笑)
02:49
We don't know what's going on half the time,
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我們在一半的時間裡不知道發生了什麼事,
02:52
so it puts看跌期權 us in a very tenuous纖細 position位置.
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所以這讓我們置身於一個非常脆弱的位置。
02:55
(Laughter笑聲)
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(眾笑)
02:57
Now if you don't like these rules規則,
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現在,如果你不喜歡這些規則,
02:59
and many許多 of us don't --
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而我們很多人都不喜歡 --
03:01
I know I didn't, and I still don't,
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我知道我之前不喜歡,我仍然不喜歡,
03:04
even though雖然 I follow跟隨 them half the time,
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雖然有一半時間我遵守著它們,
03:06
not quite相當 aware知道的 that I'm following以下 them --
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而並不清楚我在遵守它們 --
03:08
what better way than to change更改 them [than] with humor幽默?
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還有什麼比幽默更好的辦法去改變他們?
03:13
Humor幽默 relies依賴 on the traditions傳統 of a society社會.
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幽默依賴於社會的傳統。
03:16
It takes what we know, and it twists曲折 it.
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它將我們所知道的,做了些扭曲。
03:19
It takes the codes代碼 of behavior行為 and the codes代碼 of dress連衣裙,
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它隱身於行為守則和社會規範,
03:21
and it makes品牌 it unexpected意外,
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而製造出意外效(笑)果,
03:23
and that's what elicits引起 a laugh.
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而這正是如此 能讓人會心一笑。
03:25
Now what if you put together一起 women婦女 and humor幽默?
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現在,如果你把婦女和幽默放在一起會怎樣?
03:28
I think you can get change更改.
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我想你可以得到改變。
03:30
Because women婦女 are on the ground地面 floor地板,
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因為婦女就是基層,
03:32
and we know the traditions傳統 so well,
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而且我們最了解傳統,
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we can bring帶來 a different不同 voice語音 to the table.
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我們可以把不同的聲音帶上檯面。
03:36
Now I started開始 drawing畫畫
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現在我開始在
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in the middle中間 of a lot of chaos混沌.
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混亂之中畫畫。
03:40
I grew成長 up not far from here in Washington華盛頓 D.C.
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我在離這裡不遠的華盛頓特區長大。
03:42
during the Civil國內 Rights movement運動, the assassinations暗殺,
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歷經民權運動,暗殺事件,
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the Watergate水門事件 hearings聽證會 and then the feminist女權主義者 movement運動,
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水門事件聽證會,然後到女權運動。
03:48
and I think I was drawing畫畫,
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而我覺得我是在透過繪畫,
03:50
trying to figure數字 out what was going on.
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試圖找出到底發生了什麼事。
03:52
And then also my family家庭 was in chaos混沌,
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然後我的家人也是在一片混亂之中。
03:55
and I drew德魯 to try to bring帶來 my family家庭 together一起 --
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而我用繪畫設法把我的家人放在一起 --
03:58
(Laughter笑聲)
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(眾笑)
04:03
-- try to bring帶來 my family家庭 together一起 with laughter笑聲.
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-- 用笑聲盡量把我的家人放在一起。
04:06
It didn't work.
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它沒有成功。
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My parents父母 got divorced離婚, and my sister妹妹 was arrested被捕.
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我的父母離婚了,妹妹被逮捕。
04:11
But I found發現 my place地點.
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但是我找到屬於我的地方。
04:13
I found發現 that I didn't have to wear穿 high heels腳跟,
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我發現我不需要穿高跟鞋,
04:15
I didn't have to wear穿 pink,
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我不需要穿粉紅色,
04:17
and I could feel like I fit適合 in.
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而我能感覺到自己很自在。
04:20
Now when I was a little older舊的, in my 20s,
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當我年紀大一點的時候,20多歲,
04:23
I realized實現 there are not many許多 women婦女 in cartooning漫畫.
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我意識到沒有太多的婦女在畫漫畫。
04:26
And I thought, "Well, maybe I can break打破
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我想,“嗯,也許我可以打破
04:28
the little glass玻璃 ceiling天花板 of cartooning漫畫,"
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漫畫界的小小玻璃天花板。”
04:30
and so I did. I became成為 a cartoonist漫畫家.
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而我就這樣做了;我成為了一個漫畫家。
04:32
And then I thought -- in my 40s I started開始 thinking思維,
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後來我又想到,在我40多歲的時候,我開始想,
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"Well, why don't I do something?
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“哦,為什麼我不做些什麼呢?
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I always loved喜愛 political政治 cartoons卡通,
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我一直喜歡政治漫畫,
04:39
so why don't I do something with the content內容 of my cartoons卡通
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為什麼我不用我的漫畫做一些有關的內容
04:42
to make people think about the stupid rules規則 that we're following以下
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使人們在思考的那些我們一直遵循的愚蠢規則的同時,
04:45
as well as laugh?"
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也會心一笑?“
04:48
Now my perspective透視
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現在我的觀點
04:50
is a particularly尤其 --
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是一個特別 -
04:52
(Laughter笑聲)
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(眾笑)
04:54
-- my perspective透視 is a particularly尤其 American美國 perspective透視.
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-- 我的觀點是特別美國的觀點。
04:56
I can't help it. I live生活 here.
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我不能擺脫它。我住在這裡。
04:59
Even though雖然 I've traveled旅行 a lot,
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儘管我經常旅遊,
05:01
I still think like an American美國 woman女人.
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我仍然像一個美國女人般思考。
05:03
But I believe that the rules規則 that I'm talking about
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但我相信,那些我說的規則
05:05
are universal普遍, of course課程 --
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是普遍的,當然 --
05:07
that each culture文化 has its different不同 codes代碼 of behavior行為
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這每一種文化都有其不同的行為模式
05:10
and dress連衣裙 and traditions傳統,
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和服飾和傳統,
05:12
and each woman女人 has to deal合同 with these same相同 things
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而每個女人都要處理同樣的這些事,
05:14
that we do here in the U.S.
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像我們在美國這裡做的。
05:16
Consequently所以, we have.
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因此,我們 --
05:18
Women婦女, because we're on the ground地面, we know the tradition傳統.
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婦女,因為我們就是基層,我們知道傳統 --
05:21
We have amazing驚人 antennae天線.
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我們有驚人的敏銳度。
05:24
Now my work lately最近
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我最近的工作
05:26
has been to collaborate合作 with international國際 cartoonists漫畫家,
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與國際漫畫家合作,
05:28
which哪一個 I so enjoy請享用,
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這個我很享受。
05:31
and it's given特定 me a greater更大 appreciation升值
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而它讓我更欣賞
05:33
for the power功率 of cartoons卡通
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用漫畫的力量
05:35
to get at the truth真相,
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來獲得真相,
05:39
to get at the issues問題 quickly很快 and succinctly簡潔地.
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迅速和簡潔的獲得問題關鍵。
05:42
And not only that, it can get to the viewer觀眾
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不僅如此,它可以傳達給觀眾,
05:44
through通過 not only the intellect智力, but through通過 the heart.
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不只是經由智識,也同時能深入人心。
05:47
My work also has allowed允許 me to collaborate合作
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我的工作也使我與
05:50
with women婦女 cartoonists漫畫家 from across橫過 the world世界 --
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來自世界各地的女漫畫家合作 --
05:52
countries國家 such這樣 as Saudi沙特 Arabia阿拉伯,
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國家,如沙特阿拉伯、
05:54
Iran伊朗, Turkey火雞,
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伊朗、土耳其、
05:56
Argentina阿根廷, France法國 --
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阿根廷、法國 --
05:58
and we have satSAT together一起 and laughed笑了
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我們坐在一起,笑著聊天,
06:00
and talked and shared共享 our difficulties困難.
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共享我們的困難。
06:02
And these women婦女 are working加工 so hard to get their voices聲音 heard聽說
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而這些婦女很努力的工作讓她們的聲音
06:05
in some very difficult circumstances情況.
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在一些非常困難的情況下被聽見。
06:08
But I feel blessed幸福 to be able能夠 to work with them.
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但能夠與她們合作我覺得很幸運。
06:12
And we talk about
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我們還談到
06:14
how women婦女 have such這樣 strong強大 perceptions看法,
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為何婦女有如此強烈的看法,
06:16
because of our tenuous纖細 position位置
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因為我們脆弱的地位
06:18
and our role角色 as tradition-keepers傳統和人員,
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和我們作為傳統保持者的角色,
06:21
that we can have the great potential潛在
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我們可以有很大的潛力
06:24
to be change-agents變更代理.
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成為可變革推動者。
06:26
And I think, I truly believe,
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我認為,我真的相信,
06:29
that we can change更改 this thing
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我們可以改變這種事情,
06:31
one laugh at a time.
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每次一笑。
06:33
Thank you.
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謝謝。
06:35
(Applause掌聲)
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(鼓掌)
Translated by Shelley Krishna R. TSANG
Reviewed by Fumin Chiu

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ABOUT THE SPEAKER
Liza Donnelly - Cartoonist
New Yorker cartoonist Liza Donnelly tackles global issues with humor, intelligence and sarcasm. Her latest project supports the United Nations initiative Cartooning For Peace.

Why you should listen

When Liza Donnelly joined The New Yorker in 1982, she was the youngest cartoonist on staff and one of only three women at the time to draw cartoons for the magazine. She’s still there. In 2005, Donnelly wrote the definitive book about her colleagues: Funny Ladies: The New Yorker’s Greatest Women Cartoonists and Their Cartoons. She’s been part of many other books, including Sex and Sensibility, Cartoon Marriage (about her life with fellow New Yorker cartoonist Michael Maslin) and a popular series of dinosaur books for kids. Her latest is Women on Men.

In 2007, Donnelly joined the United Nations initiative Cartooning for Peace. She travels worldwide to speak out about freedom of speech, world peace, and other global issues. Along with her New Yorker cartoons, Donnelly writes a column for Forbes, and draws a weekly political cartoon for Medium. She's a founding member of the US branch of the international organization FECO, and has taught at Vassar College and The School of Visual Arts. She received an honorary PhD from the University of Connecticut and is a cultural envoy for the US State Department, traveling to speak about women's rights, freedom of expression and cartoons.

More profile about the speaker
Liza Donnelly | Speaker | TED.com