不知道發什麼，但是又想發點什麼，就發篇最近寫的音樂學論文吧。這篇是期中小論文。看看北美衡水把我一個擅長寫無病呻吟的酸文人逼成啥樣了。

該文主要探討兩個方面的問題：

1. 關於歌劇劇目中迂腐過時甚至如今看來有些冒犯的情節與描繪，我們應該如何處理？我們應該保持原狀還是與時俱進地修改？

2. 在課堂與音樂廳中，我們該如何表現及教學如劇目中的強暴、暴力及親密肢體接觸等情節？

由於有的段落太長，爲增強可讀性，故在中文版中有不同於英文版的分段。

⚠️雖然該文爲學術論文，但仍帶有強烈個人色彩。歡迎討論。

協調敏感性：在音樂廳和教室中處理藝術與社會正義交叉點的敏感問題

Harmonizing Sensitivity: Navigating Sensitive Issues at the Intersection of Arts and Social Justice in Concert Halls and Classrooms

一、簡介

I. Introduction

在充滿活力的人類社會中，藝術和音樂長期以來一直被視爲能夠超越界限並引發重要對話的強大媒介。音樂廳和教室作爲藝術表達和學習的獨特空間，是藝術的深刻影響與社會問題和敏感性的複雜性交匯的舞臺。應對這一交叉點需要採取細緻入微的方法，即促進理解、同理心和對話，同時解決滲透到我們生活中的敏感問題。

In the vibrant tapestry of human society, art and music have long been regarded as powerful mediums capable of transcending boundaries and sparking essential conversations. Concert halls and classrooms, as unique spaces for artistic expression and learning, serve as arenas where the profound influence of the arts meets the complexities of social issues and sensitivities. Navigating this intersection demands a nuanced approach, one that fosters understanding, empathy, and dialogue while addressing the sensitive matters that permeate our lives.

在這篇文章中，我將深入探討這種錯綜複雜的平衡的核心，討論藝術與社會正義之間的相互作用，以及在音樂廳和教室範圍內處理敏感問題的藝術。我們探索的核心是認識到藝術，以各種形式，擁有激發、挑戰和闡明我們這個時代最緊迫的社會問題的獨特能力。同時，這些表達方式可能會引起不適和抵制，使得在這些空間中討論敏感話題的任務變得更加複雜。

In this essay, I will delve into the heart of this intricate balance, discussing the interplay between the arts and social justice and the art of handling sensitive issues within the confines of concert halls and classrooms. At the core of our exploration lies the recognition that art, in its various forms, possesses a unique ability to provoke, challenge, and illuminate the most pressing social concerns of our time. Simultaneously, these expressions can evoke discomfort and resistance, making the task of engaging with sensitive topics in these spaces all the more complex.

二、藝術與社會問題/社會正義的交叉點

II. The intersection of the arts and social issues/social justice

在攻讀碩士學位期間，我選修了一門名爲“那些被忽視的歌劇”的課程。在這門課中，我們深入研究了歌劇歷史，挖掘隱藏的瑰寶，這些瑰寶提出了有關文化表徵和社會規範的挑戰性問題。

當我們探究18世紀的歌劇時，出現了一個特別的問題：充滿刻板印象的歌劇是否適合如今21世紀的表演，還是應該將它們從劇目中完全剔除？以莫扎特的歌劇《女人心》爲例，這部作品充滿了厭惡女性的色彩，而《魔笛》中的莫諾斯塔託斯等人物形象則冒犯了黑人社羣。困境仍然存在：用原來的文本、場景和服裝來表演這些作品是否可以接受？如果不可以，需要進行哪些修改？

During my time pursuing my master's degree, I enrolled in a course titled "Underrepresented Operas." In this class, we delved into the depths of operatic history, unearthing hidden gems that posed challenging questions about cultural representation and societal norms. One particular inquiry arose when we scrutinized 18th-century operas: Are operas rife with stereotypical depictions suitable for 21st-century performances, or should they be banished from the repertoire altogether? Take, for instance, Mozart's opera Così fan tutte, a work teeming with misogynistic undertones, and characters like Monostatos in Die Zauberflöte, whose portrayal is offensive to black communities. The dilemma persists: is it acceptable to perform these pieces with their original texts, settings, and costumes, and if not, what modifications are warranted?

作爲一名女中音，我有幸表演了《女人心》中多拉貝拉的詠歎調。雖然它需要高超的技術能力——寬廣的音域、精確的節奏和對花腔的掌握——但我無法忽視它所蘊含的令人不安的敘述。詠歎調的優美與歌劇對女性的有問題的描繪並列，讓我們面臨着令人不安的事實。

與其他藝術形式一樣，歌劇傳統延續了有害的刻板印象，將女性塑造成善變且容易動搖的人，她們的故事往往由主宰她們命運的男性角色驅動。當我們考慮歷史背景時，18世紀的歐洲是一個婦女權利受到限制、父權制規範盛行的時代。然而，承認這一背景並不能免除這些敘述對當今世界的影響，在當今世界，平等和正義至關重要。

As a mezzo-soprano, I've had the privilege of performing Dorabella's aria. While it demands technical prowess—embracing a wide vocal range, rhythmic precision, and mastery of coloratura—I couldn't ignore the troubling narrative it encapsulates. The aria's beauty juxtaposed with the opera's problematic portrayal of women, confronts us with uncomfortable truths. Like other forms of art, operatic traditions have perpetuated harmful stereotypes, casting women as fickle and easily swayed, their stories often driven by male characters who dictate their fate. When we consider the historical context, 18th-century Europe was still a time when women's rights were confined, and patriarchal norms prevailed. Yet, acknowledging this backdrop doesn't absolve these narratives of their implications in today's world, where equality and justice are paramount.

我不主張徹底禁止這些傑作。相反，我認爲在他們的音樂才華範圍內存在着批判性反思的機會。我們可以欣賞莫扎特無與倫比的音樂才華，同時認識和剖析這些故事中的破壞性元素。與任何藝術形式一樣，歌劇是一面鏡子，反映了誕生它的社會。

作爲表演者、教育者和觀衆，我們有責任正視這些反思中的缺陷，並共同努力創造一個更加公平和公正的未來。因此，問題仍然存在：我們如何應對這些複雜性？這一探究構成了我們探索藝術與社會問題交叉點的核心，其中美學與倫理相遇，挑戰我們尋求藝術與正義之間的和諧。

I do not advocate banning these masterpieces outright. Instead, I contend that within the confines of their musical brilliance lies an opportunity for critical reflection. We can appreciate Mozart's unparalleled musical talent while recognizing and dissecting the damaging elements of these stories. Opera, like any art form, is a mirror reflecting the societies that birth it. It is our responsibility as performers, educators, and audiences to confront the flaws within these reflections and work collectively to foster a more equitable and just future. Thus, the question persists: how do we navigate these complexities? This inquiry forms the heart of our exploration into the intersection of the arts and social issues, where aesthetics meet ethics, challenging us to seek harmony between artistry and justice.

扎卡里·伍爾夫 (Zachary Woolfe) 在評論普羅旺斯艾克斯音樂節上的演出《女人心》時表示，“歌劇一直是權力的工具，是由有影響力的西方國家及其精英開發和組織的奇觀。” [1]

然而，我對這種說法持懷疑態度。歌劇具有影響心靈和思想的潛力，但這種力量永遠不應該被操縱。歌劇的核心是藝術表達和文化遺產的體現。當藝術被用作操縱工具時，它不僅破壞了創作過程的完整性，而且違反了藝術活動的道德界限。

通過精心策劃的表演來操縱觀衆是一種道德上的越軌，類似於對藝術本質的犯罪。採取操縱策略的作品常常會面臨失敗，因爲它們會給觀衆帶來不適。這些作品沒有引發真正的情感並促進表演者和觀衆之間的聯繫，而是營造了一種不安和疏離感。

在歌劇領域，真實和真誠至關重要。觀衆尋求一種與他們的情感和智力產生共鳴的身臨其境的體驗，讓他們能夠欣賞表演的細微差別，而不會感到被強迫或欺騙。歌劇的真正力量在於它能夠喚起真實的情感、激發批判性思維和激發內省。通過堅持藝術完整性原則，歌劇可以作爲一種變革性的媒介，豐富體驗者的生活。

According to Zachary Woolfe, in his review of the performance Così fan tutte at the Aix-en-Provence Festival, "opera has been a tool of power, a spectacle developed and organized by influential Western nations and the elites within them"[1]. Nevertheless, I hold skepticism regarding this assertion. Opera possesses the potential to influence hearts and minds, yet this power should never be wielded manipulatively. Opera, at its core, stands as an embodiment of artistic expression and cultural heritage. When art is utilized as a tool for manipulation, it not only undermines the integrity of the creative process but also breaches the ethical boundaries of artistic endeavor. Manipulating audiences through calculated performances represents a moral transgression, akin to a crime against the very essence of art. Productions that resort to manipulative tactics often face failure, as they impose discomfort upon the audience. Instead of eliciting genuine emotions and fostering a connection between the performers and the spectators, these productions create a sense of unease and detachment. In the realm of opera, authenticity and sincerity are paramount. Audiences seek an immersive experience that resonates with their emotions and intellect, allowing them to appreciate the nuances of the performance without feeling coerced or deceived. An opera's true power lies in its ability to evoke genuine emotions, provoke critical thinking, and inspire introspection. By adhering to the principles of artistic integrity, opera can serve as a transformative medium, enriching the lives of those who experience it. 

同樣，在古典音樂領域之外，韋斯利·莫里斯 (Wesley Morris) 評論了碧昂斯 (Beyoncé) 所面臨的審查[2]，碧昂絲是我們這個時代最具標誌性的藝術家之一。她不僅代表了她自己，還代表了整個社會問題。批評她的作品常常讓人感覺不受限制，就好像這是對賦權象徵的不尊重。這種崇敬雖然植根於黑人女性所面臨的歷史不公正，但有時會阻礙對她的藝術進行更深入的批判性分析。對被蜂巢（她的熱心粉絲羣）蜇傷的恐懼強化了這種自我審查。

但藝術的核心是面對不適。這是關於應對不愉快的事情，關於超越不適。不適感正是藝術真正的力量所在。最近激進主義和文化意識的激增不應削弱藝術固有的複雜性、混亂性和張力。避免這種不適可能會導致一種沒有人類存在的混亂的文化景觀，給我們留下安全但乏味的藝術。

Outside of the classical music field, similarly, Wesley Morris comments about the scrutiny faced by Beyoncé[2], one of the most iconic artists of our time. She represents not just herself but an entire spectrum of social issues. Criticizing her work often feels off-limits, as if it would be disrespecting a symbol of empowerment. This reverence, while rooted in historical injustices faced by black women, sometimes inhibits a deeper critical analysis of her art. The fear of being stung by the Beyhive, her ardent fanbase, reinforces this self-censorship. But art, at its core, is about confronting discomfort. It's about engaging with the unpleasant, about transcending discomfort. The discomfort is where the true power of art lies. The recent spike in activism and cultural awareness should not diminish the complexity, messiness, and tension that art inherently possesses. Avoiding this discomfort might lead to a cultural landscape devoid of the chaos that defines human existence, leaving us with art that is safe but dull.

我同意莫里斯的觀點，即無論藝術家的地位如何，藝術都應該引起不適並挑戰社會規範。面對生活中不舒服的方面是藝術表達的核心。通過這種對抗，藝術獲得了真正的力量——喚起情感、刺激對話和推動社會變革的力量。

在當前激進主義和文化意識增強的氛圍下，不要爲了政治正確性而淨化藝術，這一點至關重要。藝術的複雜性、雜亂性和張力使其真實地反映了人類的經歷。避免不適可能會導致平淡的文化景觀，缺乏定義人類存在的原始、混亂和變革的本質。擁抱這種不適對於促進有意義的對話、鼓勵內省並最終塑造一個重視多元化觀點和創造性表達的社會至關重要。

I concur with Morris that art, regardless of the artist's stature, should provoke discomfort and challenge societal norms. Confronting the uncomfortable aspects of life is at the heart of artistic expression. Through this confrontation, art gains its true power—the power to evoke emotions, stimulate conversations, and drive societal change. In the current climate of heightened activism and cultural awareness, it is crucial not to sanitize art for political correctness. Art's complexities, messiness, and tensions make it authentic and reflective of the human experience. Avoiding discomfort might lead to a bland cultural landscape devoid of the raw, chaotic, and transformative essence that defines human existence. Embracing this discomfort is essential for fostering meaningful dialogue, encouraging introspection, and ultimately shaping a society that values diverse perspectives and creative expressions.

三、如何處理音樂廳或教室中的敏感問題

III. How to handle sensitive issues in the concert hall or in the classroom

在音樂廳和教室的敏感問題領域，必須在創作自由和道德界限之間取得微妙的平衡。在課堂環境中，學生無疑擁有了解和教育不同解釋和人物形象的權利。接觸不同的視角可以增強他們對複雜人物和敘事的理解。然而，必須有責任在道德限度內指導這些探索。例如，雖然像唐璜這樣的人物可以被描繪成錯綜複雜、多面的，但美化或讚揚道德上應受譴責的行爲仍應嚴格禁止。必須堅守道德底線，確保人物形象不會無意中縱容有害行爲。

In the realm of sensitive issues in both the concert hall and the classroom, a delicate balance must be struck between creative freedom and ethical boundaries. Within the classroom setting, students undoubtedly possess the right to be informed and educated about diverse interpretations and character portrayals. Exposure to various perspectives enhances their understanding of complex characters and narratives. However, there must be a responsibility to guide these explorations within ethical limits. For instance, while characters like Don Giovanni can be portrayed as intricate and multi-faceted, glorifying or praising morally reprehensible behavior should remain strictly off-limits. It is imperative to uphold a moral baseline, ensuring that the portrayal of characters does not inadvertently condone harmful actions.

2014年，美國教育部民權辦公室對美國多所高校進行了違反性暴力案件相關規定的調查。這種審查迫使各機構正視其書面政策和學生面臨的現實。作爲回應，課堂上的學生被提示在第九修正案[3]的背景下重新評估阿里阿德涅的故事[4]。這項練習引發了關於同意的深刻討論，學生們思考了圍繞權力動態和凡人遇到神時同意概念的複雜問題。對奧維德敘述的探索引起了人們對受害者指責以及社會對性侵犯倖存者的態度的關注。

與此同時，現實世界的事件，例如夏洛茨維爾白人民族主義集會的興起[5]，強調了解釋歌劇敘事中的符號的緊迫性。如果不承認這些標誌，暴力和仇恨就會蔓延。通過深入研究歌劇中有關強姦的討論，學生們能夠更好地理解這些符號所延續的潛在的厭女症和白人至上主義。在歌劇背景下探討這些主題爲學生提供了一個框架來解讀厭女症和白人至上之間的複雜聯繫，使他們能夠批判性地分析這些象徵性聯繫[6]。

In 2014, the US Department of Education's Office of Civil Rights investigated numerous US colleges and universities for violating regulations related to sexual violence cases. This scrutiny forced institutions to confront both their written policies and the realities faced by their students. In response, students in a classroom setting were prompted to reevaluate the story of Ariadne within the context of a Title IX hearing. This exercise led to profound discussions about consent, with students contemplating complex questions surrounding power dynamics and the concept of consent when a mortal encounters a god. The exploration of Ovid's narrative brought attention to victim-blaming and societal attitudes toward sexual assault survivors. Concurrently, real-world events, such as the rise of white nationalist rallies in Charlottesville, underscored the urgency of interpreting symbols within operatic narratives. Failure to acknowledge these symbols allowed the proliferation of violence and hatred. By delving into discussions about rape in opera, students were better equipped to understand the underlying misogyny and white supremacy perpetuated by these symbols. Addressing these themes within operatic contexts provided students with a framework to decipher the intricate connections between misogyny and white supremacy, empowering them to critically analyze these symbolic links[6].

教育工作者所採取的富有洞察力的方法給我留下了深刻的印象。古代神話（尤其是阿里阿德涅的故事）與當代問題（例如大學校園的性暴力和白人民族主義運動的興起）之間的類比，可以作爲一個強大的鏡頭，通過它來理解這些主題的持久相關性。這種教學方法讓我印象深刻，不僅具有創新性，而且具有深遠的影響力。通過鼓勵學生批判性地參與這些敘述，不僅加深了他們對複雜的權力動態和同意問題的理解，而且還爲他們提供了寶貴的分析工具。

在歌劇背景下處理這些敏感話題增加了一層深度，凸顯了歷史和文化符號中根深蒂固的厭女症和白人至上主義。這種方法使學生能夠剖析這些問題之間的複雜聯繫，培養更深刻的認識，這在面對持續的社會挑戰時是不可或缺的。總的來說，我發現這種教學方法非常有價值，它鼓勵批判性思維並培養更加見多識廣、富有同理心的一代。

I am deeply impressed by the insightful approach taken by educators. The analogy between ancient myths, particularly the Ariadne story, and contemporary issues, such as sexual violence on college campuses and the rise of white nationalist movements, serves as a powerful lens through which to understand the persistent relevance of these themes. This method of teaching strikes me as not only innovative but also profoundly impactful. By encouraging students to engage critically with these narratives, it not only deepens their comprehension of complex power dynamics and issues of consent but also equips them with invaluable analytical tools. Addressing these sensitive topics within the operatic context adds a layer of depth, highlighting the deep-seated misogyny and white supremacy embedded in historical and cultural symbols. This approach empowers students to dissect the intricate connections between these issues, fostering a more profound awareness that is indispensable in the face of ongoing societal challenges. Overall, I find this method of teaching to be immensely valuable, encouraging critical thinking and nurturing a more informed and empathetic generation.

對於舞臺製作，導演享有創作自由，但這種自由也伴隨着道德約束。回到先前關於唐璜的話題，像唐璜這樣的人物可以被描繪成複雜的人物，反映人性的陰暗面，但他們不應該以美化其負面特徵的方式來描繪。探索複雜性和支持不道德行爲之間存在着微妙的界限。導演必須謹慎行事，認識到他們的解釋會影響觀衆的看法。此外，涉及暴力或強姦等敏感話題的場景需要仔細考慮。導演應該評估觀衆的構成，並使製作的強度與觀衆的期望和敏感性相一致。瞭解觀衆的人口統計和偏好可確保表演具有影響力，而不會造成不必要的不適。

Regarding staging productions, directors enjoy creative freedom, yet this freedom comes with ethical constraints. Returning to the case of Don Giovanni, characters like Don Giovanni can be depicted as complex, reflecting the shades of human nature, but they should not be portrayed in a manner that glorifies their negative traits. There exists a nuanced line between exploring complexity and endorsing immorality. Directors must exercise caution, recognizing that their interpretations influence the audience's perception. Moreover, scenes involving violence or sensitive topics such as rape demand careful consideration. Directors should assess the composition of their audience and align the production's intensity with the viewers' expectations and sensitivities. Understanding the demographics and preferences of the audience ensures that the performance is impactful without causing unnecessary discomfort.

就我個人而言，我認爲自己思想開放，具備欣賞多樣化藝術表達領域的能力。我發現見證那些提供獨特詮釋、突破傳統敘事界限的作品很有價值。然而，我堅信作品中的性或裸體等元素不應僅僅起到刺激的作用。對我來說，這些場景應該傳達深刻的意義或對敘事深度做出重大貢獻。如果觀衆無法辨別裸體或性愛場景的潛在意義，我認爲這是藝術執行上的失敗。

如果沒有有意義的背景，這些場景就會淪爲純粹的聳人聽聞，類似於缺乏實質內容和藝術意圖的膚淺展示。從本質上講，我主張有目的且發人深省的藝術選擇，以豐富整體敘事，挑戰創作者和觀衆更深層次地參與材料。

Personally, I consider myself to be open-minded and appreciative of diverse experiences within the realm of artistic expression. I find value in witnessing productions that offer unique interpretations, pushing the boundaries of conventional storytelling. However, I firmly believe that elements such as sex or nudity in a production should serve a purpose beyond mere titillation. For me, these scenes should convey a profound meaning or contribute significantly to the narrative depth. If the audience cannot discern the underlying significance of a naked or sex scene, I view it as a failure in artistic execution. Without a meaningful context, such scenes devolve into mere sensationalism, akin to a superficial display lacking substance and artistic intent. In essence, I advocate for purposeful and thought-provoking artistic choices that enrich the overall narrative, challenging both the creators and the audience to engage with the material on a deeper level.

從本質上講，教室和音樂廳都應該營造一個培養藝術表達的環境，但不能以犧牲道德原則爲代價。通過在創造性探索和道德界限之間取得平衡，教育工作者和導演可以促進有意義的對話，拓寬視角，創造強有力的、發人深省的表演，在尊重觀衆的情感和道德準則的同時，與觀衆產生共鳴。

In essence, both the classroom and the concert hall should foster an environment where artistic expression is nurtured, but not at the expense of ethical principles. By striking a balance between creative exploration and ethical boundaries, educators and directors can facilitate meaningful conversations, broaden perspectives, and create powerful, thought-provoking performances that resonate with audiences while respecting their sensibilities and moral compass.

四、結束語

IV. Closing Thoughts

在瀏覽這些豐富的信息時，我發現目睹音樂行業的轉變確實令人興奮，專業人士正在認真思考我們在音樂廳和教室環境中處理敏感問題的複雜方式。對藝術與社會問題之間交叉點的考慮確實是一種微妙的平衡，值得仔細關注。我堅信，永恆的經典無論誕生後已經過了多少年，仍能保持其魅力。就像莎士比亞、托爾斯泰和普希金在西方文學中經久不衰的魅力一樣，這些傑作繼續吸引着讀者，提醒我們藝術的持久力量。然而，雖然深思熟慮地處理這些經典作品很重要，但過度的審查可能會轉向政治正確的領域，可能會扼殺藝術固有的自由。

Navigating through this wealth of information, I find it truly exhilarating to witness a shift within the music industry where professionals are earnestly pondering the intricate ways in which we handle sensitive issues within the concert hall and classroom settings. The consideration of the intersection between the arts and social issues is indeed a delicate balance, one that warrants meticulous attention. I firmly believe that timeless classics maintain their charm, regardless of the years that have elapsed since their creation. Much like the enduring appeal of Shakespeare, Tolstoy, and Pushkin in Western literature, these masterpieces continue to captivate readers, reminding us of the enduring power of art. However, while it's essential to handle these classics thoughtfully, excessive scrutiny can veer into the realm of political correctness, potentially stifling the inherent freedom of art. 

自然，我個人在我的音樂生涯中遇到過一些例子，這些例子強調了這種微妙平衡的重要性。2017年，在一次彩排中，我在未經提前通知的情況下被安排了吻戲。 導演要求我和男高音在所有演職人員面前接吻。 儘管我感到不舒服，但事先缺乏信息和當時的壓力迫使我不得不遵守。 當時，我擔心表達這種不適似乎不專業。 然而，2022 年發生了一個可喜的變化，當時圍繞親密關係的討論成爲舞臺上任何身體接觸之前的標準做法。

Certainly, I have personally encountered instances in my musical career that underscore the importance of this delicate balance. In 2017, I found myself unexpectedly staged for a mouth-to-mouth kiss during a staging. The director asked me and the tenor to kiss in front of all the cast members. The lack of prior information and the pressure of the moment compelled me to comply, even though I felt uncomfortable. Back then, I was concerned that expressing this discomfort seemed unprofessional. However, a welcome change occurred in 2022, when discussions around intimacy became standard practice before any physical contact on stage.

如今，在進行表演之前，即使是最輕微的觸摸，例如面部或手部觸摸，表演者也會被詢問。 這種新發現的意識和考慮使我能夠公開地面對自己的不適。 我現在認識到，作爲表演者，我們有權表達我們的擔憂，而不必擔心被視爲不專業。 這種轉變不僅在行業內營造了一個更加尊重和體貼的環境，而且還讓藝術家能夠自由地真實地表達自己，保留了真正藝術表達的本質。

Today, performers are consulted about even the slightest touches, such as a face or hand touch, before proceeding with the staging. This newfound awareness and consideration have empowered me to confront my discomfort openly. I now recognize that we, as performers, have the right to voice our concerns without fear of being deemed unprofessional. This shift not only fosters a more respectful and considerate environment within the industry but also allows artists the freedom to express themselves authentically, preserving the essence of true artistic expression.

Sources來源:

1. Zachary Woolfe, "Review: Mozart Reimagined in a Violent, Racist World," The New York Times, July 2, 2016, sec C, p. 1.

扎卡里·伍爾夫，“評論：莫扎特在暴力、種族主義世界中的重新想象”，《紐約時報》，2016 年 7 月 2 日，C 段，第 1頁。

2. Wesley Morris, "Should Art Be a Battleground for Social Justice," New York Times, October 3, 2018, /interactive/2018/10/03/magazine/morality-social-justice-art-entertainment.html?smid=nytcore-ios-share.

韋斯利·莫里斯，“藝術應該成爲社會正義的戰場”，《紐約時報》，2018 年 10 月 3 日，/interactive/2018/10/03/magazine/morality-social-justice-art -entertainment.html?smid=nytcore-ios-share。

3. Title IX hearing是指根據美國《教育修正法案》第九條修正案（Title IX）進行的內部調查程序，用於處理學校或大學內部涉及性別歧視、性騷擾或性侵犯的投訴。該程序旨在確保教育機構內部不存在性別歧視，爲受害者提供報告和支持的途徑，並採取合適的糾正措施。

4. 阿里阿德涅（Ariadne）是希臘神話中的角色，在阿里阿德涅的故事中，她幫助忒修斯（Theseus）戰勝彌諾陶洛斯（Minotaur），而忒修斯答應娶她爲妻。然而，在途中，他們停留在納克索斯（Naxos）島，忒修斯卻拋棄了阿里阿德涅，離開了她。阿里阿德涅被利用和拋棄，感到非常傷心和孤獨。然而，迪奧尼索斯 （Dionysus）也看上了阿里阿德涅，他強迫她發生了關係併成爲了他的妻子。在很多戲劇中，該故事被美化爲迪奧尼索斯拯救了被拋棄的阿里阿德涅，而忽略了其中刻意混淆的強姦文化和父權權威的糾纏。

5. 2017年夏洛茨維爾白人民族主義集會是一次在美國弗吉尼亞州夏洛茨維爾市舉行的極右翼和白人至上主義者集會，抗議當地移除南北戰爭將領羅伯特·李的雕像。集會引發了抗議活動，導致衝突和暴力事件，其中一名示威者被車撞死。此事件引發了廣泛關注，成爲對美國社會種族問題的重要反思。

6. Bonnie Gordon, "On Teaching Monteverdi's L'Arianna", Journal of the American Musicological Society 71, no. 1 (2018): 235. /10.1525/jams.2018.71.1.213.

邦妮·戈登，“論蒙特威爾第的 L'Arianna 教學”，美國音樂學會雜誌71，第 1 期（2018 年）：第235頁。/10.1525/jams.2018.71.1.213。