Expanding upon early feminist discussions of the ‘male gaze’ of classic Hollywood cinema, scholars have theorised the multiple modalities of a ‘transgender look’ or ‘gaze’. This involves considering trans(*) or transgender perspectives not just in terms of identity, but as a way of seeing that refuses to privilege the real over the figurative, and that can enable characters to envisage alternative futures. This article draws on discussions of trans and queer gazing, embodiment and temporality, to argue for a trans reading of Antje Rávik Strubel's 2007 novel Kältere Schichten der Luft, set in a canoeing camp in Sweden, and her 2016 episodic novel In den Wäldern des menschlichen Herzens. It argues that the transgender gaze is cultivated as a space of both refuge and possibility for the protagonists of these two works, with the later novel pushing beyond the temporary glimpses of queer and trans utopias in Kältere Schichten toward more permanent, although never fixed, representations of trans embodiment. These works invite readers to look with rather than at trans and genderqueer characters. In doing so, they renegotiate understandings of pasts and futures, embodiments and desires.

中文翻译：

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超越自我：在安杰·拉维克·斯特鲁贝尔（AnjeRÁVIKSTRUBEL）的KÄLTERESCHICHTEN DER LUFT（2007）和DENWÄLDERNDES MENSCHLICHEN HERZENS（2016）中进行跨性别注视

在早期的女权主义关于经典好莱坞电影的“男性凝视”的讨论的基础上，学者们对“变性人外观”或“凝视”的多种形式进行了理论分析。这涉及不仅考虑身份，而且考虑跨性别（*）或跨性别的观点，并将其视为拒绝将实物优先于图形的特权，并可以使角色设想替代性未来的一种方式。本文通过对跨性别和酷儿注视，体现和时间性的讨论，主张对安特耶·拉维克·斯特鲁贝尔（AntjeRávikStrubel）2007年的小说《KältereSchichten der Luft》（位于瑞典的独木舟营地）和她2016年的情节小说《登·瓦登德·门施利兴》进行跨读赫尔岑斯。它认为，跨性别的凝视被培养为这两部作品的主人公提供庇护和可能性的空间，后来的小说超越了KältereSchichten的古怪和超乌托邦的暂时瞥见，转向了更永久的（尽管从未固定）的表现形式。反实施例。这些作品邀请读者看有，而不是在反式和性别酷儿字符。通过这样做，他们可以重新协商对过去和未来，具体实施方式和愿望的理解。