The Bride Stripped Bare by Her Bachelors, Even (1915–1923), also known as The Large Glass, is one of Marcel Duchamp's most complex works and has elicited a wealth of scholarly suggestions as to its meaning and sources of inspiration. Nevertheless, although it is recognized that Duchamp’s early practice as a maker of cartoons paved the way for an oeuvre replete in wit and wordplay, the inspiration Duchamp drew from well-known French caricatures received almost no attention. To fill this void, the present article proposes that The Large Glass was based on the caricature A New Game of Rings, issued by Charles Vernier on the eve of the 1848 presidential elections for the Second Republic. Upon close inspection, Vernier's satirical cartoon suggests not only the composition of The Large Glass, but also themes that are central to Duchamp’s oeuvre: games, absurdity, and hilarity; chance, whether uncontrolled or controlled; and the dichotomy between male and female, reality and idea. Moreover, the political scenario presented in the mid-nineteenth century caricature had considerable relevance for the situation of the Third Republic when Duchamp created his work. Thus the tragicomedy of the Bride and her Bachelors represented in The Large Glass may be said to epitomize the changing relationship between Marianne – the female personification of the Republic – and the French people during the turmoil of the First World War.

中文翻译：

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机会游戏：马塞尔·杜尚（Marcel Duchamp）的大型玻璃和19世纪法国政治漫画

埃文（1915–1923）的单身新娘裸露新娘，也被称为《大玻璃杯》，是马塞尔·杜尚（Marcel Duchamp）最复杂的作品之一，并就其含义和灵感来源提出了许多学术建议。尽管如此，尽管人们公认杜尚的早期创作是为漫画和漫画的创作铺平了道路，但杜尚从法国著名漫画中获得的灵感却几乎没有受到关注。为了填补这一空白，本文提出，《大玻璃杯》是根据查尔斯·韦尔尼尔（Charles Vernier）在1848年第二共和国总统选举前夕发行的漫画《新的指环王》制作的。经过仔细检查，韦尼尔的讽刺漫画不仅暗示了《大玻璃杯》的构成，而且还提出了杜尚作品中至关重要的主题：游戏，荒诞和欢喜；机会，无论是不受控制还是受控制；以及男女之间的二分法，现实与思想。此外，在19世纪中叶讽刺漫画所呈现的政治情景与杜尚（Duchamp）创作他的作品时的第三共和国的局势具有重大意义。因此，可以说，《大玻璃杯》中新娘及其单身汉的悲喜剧代表了第一次世界大战动荡期间玛丽安（共和国的女性化人物）与法国人民之间不断变化的关系。19世纪中叶讽刺漫画所呈现的政治场景与杜尚（Duchamp）创作他的作品时的第三共和国的局势具有重大意义。因此，可以说，《大玻璃杯》中新娘及其单身汉的悲喜剧代表了第一次世界大战动荡期间玛丽安（共和国的女性化人物）与法国人民之间不断变化的关系。19世纪中叶讽刺漫画所呈现的政治场景与杜尚（Duchamp）创作他的作品时的第三共和国的局势具有重大意义。因此，可以说，《大玻璃杯》中新娘及其单身汉的悲喜剧代表了第一次世界大战动荡期间玛丽安（共和国的女性化人物）与法国人民之间不断变化的关系。