马塞尔·杜尚的“现成品”是如此频繁地作为关于艺术之本质的准哲学思考的偶像而被援用,以至于我们现在已经忘掉了这些物品曾经是被明确置于一些具体理论情境之中的。本文保证根据方法论意义上的设想重新赋予某些现成品,特别是《泉》以历史意义,这种方法论意义上的设想就是只有通过小心翼翼地重现这些现成品的历史环境这些现成品对美学所可能产生的影响才能够被领会。 Marcel Duchamp’s “ready-made ” is so frequently used as an icon of quasi-philosophical thinking about the nature of art that we have now forgotten that the objects were once explicitly placed in specific theories Among the situation. This article pledges to re-assign certain ready-made products, especially “springs,” according to the methodological implications. The methodological idea here is that only through the carefully reconstructed the historical environment of these ready-mades, The possible impact can be understood.