Abstract Frasier was a widely successful American sitcom that centered around its luxurious main character Frasier Crane and his eccentric family. Much of the comedy focused on character quirks and family dynamics, but this article argues that the objects within the Crane world were just as essential and illuminating as the characters themselves. From the first episode the set was utilized as a physical embodiment of Frasier’s identity and class, as well as the anxieties that ensued whenever his identity was threatened. Utilizing Grant McCracken’s concept of the Diderot effect and Diderot unity it is possible to explore the sitcom in a manner that deftly highlights how easy and all-consuming it can be to build and protect one’s identity through the meticulous consumption of specific possessions. In the end, we find that it is not only Frasier who falls victim to this connection between possessions and identity, but all of us. Much like the set is a reflection of who Frasier is, Frasier, the sitcom, becomes a reflection of the viewer and our culture at large.

中文翻译：

---

“我们的家具家族”：弗雷泽的奢侈品问题

摘要 Frasier 是一部广泛成功的美国情景喜剧，围绕其奢华的主角 Frasier Crane 和他古怪的家庭展开。大部分喜剧都集中在角色怪癖和家庭动态上，但本文认为起重机世界中的物体与角色本身一样重要且具有启发性。从第一集开始，这个场景就被用作弗雷泽身份和阶级的物理体现，​​以及每当他的身份受到威胁时随之而来的焦虑。利用格兰特麦克拉肯的狄德罗效应和狄德罗统一性的概念，可以巧妙地强调通过对特定财产的细致消费来建立和保护一个人的身份是多么容易和耗费精力的方式来探索情景喜剧。到底，我们发现，不仅是弗雷泽成为财产和身份之间这种联系的受害者，而且是我们所有人。就像布景反映了弗雷泽是谁一样，情景喜剧弗雷泽成为观众和我们整个文化的反映。