The monster is a ubiquitous figure in transgender rhetorics. Mary Shelley’s nameless creature, who has circulated under the name of his scientistcreator ‘Frankenstein’ since the 1830s, is often the specific trope used to cast transgender people as “monstrous, crazy, or less than human” (Rubin 12). Shelley’s nameless creature has been used to denounce transgender people as “synthetic products” of a “medical empire” (Raymond 12, 165) and as products of a “Frankenstein phenomenon” of “ghoulish gynaecologists” (Daly 69, 70). References to Frankenstein also frequently appear in transgender narratives and trans-affirmative scholarship (Barad, Cromwell, Noble), from titles like Susan Stryker’s “My Words to Victor Frankenstein Above the Village of Chamounix” to Rebecca Duke’s “Rendering ‘Frankenstein’s Monster’ Intelligible” and from memoir (Bono, Breedlove, Link & Raz, McBee) to poetry (Cannon, Ladin). For artist Anthony Clair Wagner, struggling with ‘monster,’ “this derogatory word,” is about nothing less than the question: “How can we own the transgender imaginary?” (341). The particularly prominent, affectively intense place of Frankenstein in the transgender imaginary is the starting point for this essay. While transphobic uses of Frankenstein’s monster as a trope generally draw on ideas of monstrous bodies and physical monstrosity, transgender metaphors of the monster use his rage-fueled agency to carve out a transgender speaking position in the face of the silencing gestures of transphobia. Trans studies scholar Harlan Weaver, for example, notes: “Stryker’s essay has made an indelible mark in transgender theories in the ways it takes up the monster’s rage as a means to elucidate a new form of doing and understanding trans bodies” (133). Rage is not the only means of understanding trans affect through Frankenstein, however. As a figure laden with negative affect, the monster offers transgender readers a way of addressing feelings of shame, gender dysphoria, and alienation from heteronormative gender and sexuality. Stryker uses the monster as a figure of bodily

中文翻译：

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翻译怪物：变性者的情感和科学怪人

怪物是跨性别修辞学中无处不在的人物。玛丽·雪莱（Mary Shelley）的无名生物，自1830年代以来就以他的科学家创造者“弗兰肯斯坦”（Frankenstein）的名字流传，通常是用来将变性人描述为“可怕，疯狂或比人还小的人”的特有望远镜（Rubin 12）。雪莱这种无名的生物被用来谴责变性人是“医学帝国”的“合成产品”（雷蒙德12，165）和“食尸鬼妇科医生”的“弗兰肯斯坦现象”的产物（戴利69，70）。弗兰肯斯坦的提法也经常出现在跨性别的叙事和跨性别的学术研究中（巴拉德，克伦威尔，诺布尔），从诸如苏珊·史翠克的《我的话在Chamounix村上的维克多·弗兰肯斯坦》一书到丽贝卡·杜克的《渲染'弗兰肯斯坦的怪物'可理解的词》从回忆录（波诺，Breedlove，Link＆Raz，McBee）到诗歌（Cannon，Ladin）。对于在“怪物”中挣扎的艺术家安东尼·克莱尔·瓦格纳（Anthony Clair Wagner）来说，“这个贬义词”无非是一个问题：“我们如何拥有想象中的跨性别者？” （341）。弗兰肯斯坦在跨性别假想中的特别突出和情感上的强烈位置是本文的出发点。虽然弗兰肯斯坦怪兽的恐惧症通常以恐怖性的躯体和身体怪兽的观念来使用，但怪物的变性人隐喻却利用他的愤怒推动机构，在面对恐惧症的沉默姿态时，勾勒出变性者的讲话姿势。例如，跨性别研究学者Harlan Weaver指出：“ Stryker的论文在跨性别理论上留下了不可磨灭的烙印，因为它吸收了怪物的愤怒，以此来阐明做和理解跨身体的新形式”（133）。但是，愤怒并不是了解通过科学怪人的跨性别情感的唯一手段。作为一个充满负面影响的人物，这个怪物为跨性别读者提供了一种解决羞辱，性别焦虑和异性恋性别与性行为的方法。斯特瑞克（Stryker）将怪物用作身体人物 以及与异性规范的性别和性行为疏远。斯特瑞克（Stryker）将怪物用作身体人物 以及与异性规范的性别和性行为疏远。斯特瑞克（Stryker）将怪物用作身体人物