战后西德现代设计与救赎的矛盾  

Modern Design and the Ambivalence of Redemption in Post-War West Germany

作　　者：娜塔莉·肖尔茨 张弛(译) 董耀威(译) Natalie Scholz

机构地区：[1]阿姆斯特丹大学历史系 [2]不详

出　　处：《国际社会科学杂志（中文版）》2024年第2期128-142,7,11,12,共18页International Social Science Journal（Chinese Edition）

摘　　要：历史研究强调,现代设计后来成功地被塑造成一种文化产品,将西德从纳粹的过去中拯救出来。然而,如果人们通过关注各种出版物中的沉默、遗漏和差异来承认第二次世界大战后话语中的否认结构,那么1945年之前和之后现代设计的政治意义之间的这种救赎性对立就显得不那么明确了。这样的分析揭示了现代设计作为“永恒”的编码以及它在“马歇尔计划”背景下的推广,是如何模糊任何关于日常美学的基本概念与德国人民的种族观念交织在一起的历史理解。During the Third Reich,a modern shape of everyday objects was propagated as realizing a German nation defined as an organic and racial entity.What happened to this cultural nexus after 1945?Historical scholarship has emphasized above all that modern design went on to be successfully framed as a cultural good that redeemed West Germany from the Nazi past.This redeeming opposition between the political meanings of modern design before and after 1945,however,appears less clear-cut if one acknowledges the structure of denial in postwar discourses by focusing on the silences,omissions and discrepancies in various publications.Such an analysis exposes how the coding of modern design as"timeless"together with its promotion in the context of the Marshall Plan made it possible to blur any historical understanding of how the underlying notions of everyday aesthetics had been intertwined with racially loaded ideas of the German people.This obscurity in the context of a not yet decolonized West facilitated the continuing influence of at least some aspects of modern design's more troubling political legacies.

关 键 词：道德范畴 包豪斯 启蒙思想 启蒙运动 

分 类 号：J11[艺术—艺术理论]