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| 祛魅、赋魅与复魅——马塞尔·布劳耶钢管椅的多重位移 |
| Disenchantment, Enchantment and Re-enchanting:The Multiple Displacements of Marcel Breuer’s Tubular Steel Chair |
| 投稿时间：2024-06-03 修订日期：2024-06-03 |
| DOI：10.12285/jzs.20240603004 |
| 中文关键词: 马塞尔·布劳耶、钢管椅、位移、物质文化、现代性 |
| 英文关键词: Marcel Breuer,Tubular steel chair,Displacement,Material culture,Modernity |
| 基金项目: |
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| 中文摘要: |
| 本文以马塞尔·布劳耶设计的钢管椅作为研究的切入点，探讨它在 20 世纪 20 年代、30 年代、60 年代
以及当下，不同的文化和社会背景及意识形态下，是如何作为设计改革社会的工具、纳粹帝国繁荣进步的象
征和一种有品位的文化资本而存在的。揭示了在与钢管椅相关的意义链中，几乎相反的意义是如何在同一个物
体中出现，探索了其时间性和物质性的轨迹以及它所形成和塑造的多重位移。本文认为，正是由于这些家具是
基于功能主义的合理化计算的结果，剥除了传统物品中人文、历史和心理的深度，呈现为一种单纯而赤裸的物，
才使得不同意义的注入成为可能。这违背了作者的初衷却成就了其现代经典的地位。 |
| 英文摘要: |
| This paper examines how the Marcel Breuer designed steel tube chair existed as a tool for designing a
reformed society，a symbol of the Nazi empire’s prosperity and progress，and a tasteful piece of cultural capital
in the 1920s，‘30s，‘60s，and in the present day，in a variety of cultural and social contexts and ideologies.Reveals
how almost opposite meanings appear in the same object in the chain of meanings associated with the tubular
steel chair，exploring the trajectory of its temporality and materiality，and the multiple displacements that it forges
and is shaped by.The article proposes that it is the fact that these pieces of furniture are the result of rationalised
calculations based on functionalism，stripped of the human，historical and psychological depths of traditional
objects，and presented as a simple and naked object，that makes the infusion of different meanings possible. This
defies the author’s original intention but achieves its status as a modern classic. |
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