外科口罩或自制口罩，都標誌着思維的重大轉變

Surgical or homemade, masks mark a major shift in thinking

外科口罩或自制口罩，都標誌着思維的重大轉變

Think about Hannibal Lecter, the psychopathic cannibal in the "Silence of The Lambs." Or Jason Voorhees, the hockey mask-wearing murderer in the "Friday the 13th" slasher film series.

想想漢尼拔·萊克特，《沉默的羔羊》中的精神變態食人魔；或傑森·沃里斯，《十三號星期五》系列電影中戴着曲棍球面具的兇手。

Before the coronavirus outbreak abruptly disrupted the livelihoods of millions of people, the sight of masks worn in public spaces in the Western world conjured up images of malevolent clowns and terrifying fictional villains.

在新冠病毒爆發突然擾亂了數百萬人的生計之前，西方世界中在公共場所戴着口罩的形象常讓人聯想起邪惡的小丑和可怕的虛構惡魔。

Even worse, in the streets of Paris, London or Brussels, mask-wearing — a long-accepted measure in some Asian cities — would often trigger unease and angst related to real-life traumatic bloodshed orchestrated by balaclava-led commandos from extremist groups.

更糟糕的是，雖然在一些亞洲城市中，戴口罩是人們長期接受的一種行爲，但在巴黎、倫敦或布魯塞爾的街頭，戴口罩往往會引發不安和焦慮，這緣於在現實生活中，由基地組織的巴拉克拉瓦領導的突擊隊策劃的令人痛苦的流血事件。

France banned the wearing of full veils in public places back in 2011 in part because the government said the face covering violated the nation's secular values, well before the COVID-19 pandemic took shape.

法國早在2011年就禁止在公共場所戴完整的面紗，部分原因是政府表示，早在新冠肺炎疫情形成之前，遮臉違反了國家的世俗價值觀。

But in the space of just a few weeks this spring, this narrative has been turned upside down. Masks are everywhere and carry a new, positive meaning.

但在今年春天的短短几周時間裏，這種說法就發生了翻天覆地的變化。口罩無處不在，並承載着一種新的、積極的意義。

"The mask, at first, is anxiety-inducing," Franck Cochoy, a professor of sociology at the University of Toulouse Jean Jaures, said in a phone interview. "When people saw them in the street, it felt like they were faced with the threat of the disease. Today, what people find scary is not having masks. Masks have become soothing objects."

 “面具一開始會讓人焦慮。” Toulouse Jean Jaures大學社會學教授Franck Cochoy在接受電話採訪時說：“當人們在街上看到口罩時，他們會感到面臨的疾病的威脅。而如今，人們覺得可怕的是沒有戴口罩。口罩已經變成了一種撫慰的東西。” 

After discouraging citizens from wearing face covers during the early stages of the pandemic, most governments now recommend, or even make their use mandatory, as they try to slow the spread of the virus.

在疫情爆發初期不鼓勵公民戴口罩之後，大多數政府現在建議，甚至強制使用口罩，目的是試圖減緩病毒的傳播。

Cochoy is stunned by how quickly people have adopted masks. With a team of researchers, he has surveyed their use during the health crisis, scrutinizing more than a thousand testimonies.

人們接受口罩的速度如此之快，這讓Cochoy感到震驚。他和一組研究人員調查了口罩在健康危機期間的使用情況，並仔細審查了1000多份說辭。

He said masks have created a new kind of social inequality, "a social division between those who have masks, and those who don't."

他說，口罩造成了一種新的社會不平等，“有口罩的人和沒有口罩的人之間的社會鴻溝”。

"People who don't have masks feel naked," he said.

“沒有戴口罩的人感覺就像赤身裸體。”他說。

At the start of the pandemic, the lack of masks led many people to resort to homemade solutions. Although medical professionals say the protection they offer is not ideal, hand-crafted masks have become a hit and the small pieces of fabric covering the nose and mouth are now a social marker like any other piece of clothing.

在新冠疫情大流行開始時，口罩的缺乏導致許多人尋找自制的解決方案。儘管醫學專家說，這並不會提供理想的防護，但手工製作的口罩已大受歡迎，覆蓋鼻子和嘴巴的小塊布料如今已像其他衣服一樣，成爲了一種社會標誌。

On the glitzy Champs-Elysees avenue in Paris, when shoppers were allowed back in the streets after two months of a stringent lockdown, a woman sported a black mask with a white Chanel inscription.

在巴黎金碧輝煌的香榭麗舍大道上，當購物者在嚴格封鎖兩個月後獲准重返街頭時，一名婦女戴着印有白色香奈兒品牌的黑色口罩。

In Brussels, inside a small shop selling organic fruit and vegetables popular with the so-called "bohemian-bourgeois" urbanites, hand-crafted masks come in a myriad of designs and a rainbow of colors. A few hundreds meters down the road, people running errands at a big-chain supermarket mostly wear the surgical, disposable version of the mask — the one available for less than one euro in pharmacies — with no aesthetic airs at all.

在布魯塞爾的一家售賣有機水果和蔬菜的小商店裏，手工製作的口罩有設計繁多，五顏六色，受到了所謂的“波西米亞資產階級”都市居民的歡迎。沿着這條路往下走幾百米，在一家大型連鎖超市裏，辦事的人大多戴着一次性外科口罩（在藥店這種口罩售價不到一歐元），沒有絲毫美感。

Vanessa Colignon, a textile and fashion designer based in Brussels, has been engaged for years in zero-waste projects, using natural or recycled materials from sustainable local producers. It's the daily sight of cheap disposable gloves and masks thrown away in the streets of her neighborhood that convinced her to start producing her own during the health crisis.

Vanessa Colignon是布魯塞爾的一名紡織品和時裝設計師，多年來一直致力於零廢物項目，使用可持續發展的當地生產商提供的天然或回收材料。在危機期間，她每天都能看到廉價的一次性手套和口罩被丟棄在她家附近的街道上，這讓她開始自己生產自己的手套和口罩。

"I expected the government to develop reusable masks and gloves," she said, disappointed by a perceived lack of commitment for sustainable mask production from Belgian authorities.

“我希望政府能發明可重複使用的口罩和手套。”她說道。她對比利時當局缺乏對可持續使用口罩的生產的承諾感到失望。

"The priority should have been to say: 'We don't make disposable masks anymore,'" she added.

“當務之急應該是說：‘我們不再生產一次性口罩了。’”她補充說。

Cochoy thinks the dichotomy between the hand-crafted and surgical masks offers a preview of the trend that will shape life after COVID-19, supporters of sustainable development facing off against "growth at all costs" strategies.

Cochoy認爲，手工製作的口罩和外科口罩之間的二元形態預示着改變新冠肺炎後的生活趨勢，新冠肺炎是可持續發展的支持者，反對“不惜一切代價實現增長”的戰略。

"It's fascinating. These two types of masks are carrying voices for the post-coronavirus world," he said. "On one hand, the surgical masks embody the modern, globalized world, where everything is standardized, with all its advantages and inconveniences. Their filtration power is high, measurable, and certified, but they come from abroad in containers, are carbon-charged, disposable. With the homemade version, we return to a form of less efficient, but also non-market, sustainable economy."

 “這很有趣，這兩種口罩承載着後新冠病毒時代的聲音。” 他說：“一方面，外科口罩體現了現代化、全球化的世界，一切都是標準化的，有其所有的優點和不便。它們的過濾能力很高，可測量且經過認證，但它們來自國外，裝在容器裏，充滿了碳且是一次性的。有了自制版口罩，我們就回到了一種效率較低，但也是非市場、可持續的經濟形式。”

翻譯：MS小冰晶