{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"1cd40951-874b-4d06-9eea-f6afadf57c08","title":"德勒兹关键概念","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787568912952","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"1cd40951-874b-4d06-9eea-f6afadf57c08","id":"1cd40951-874b-4d06-9eea-f6afadf57c08","uuid":"1cd40951-874b-4d06-9eea-f6afadf57c08","title":"德勒兹关键概念","normalized_title":"德勒兹关键概念","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787568912952","isbns":["9787568912952","9781844652884"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":409,"navigation_url":"https://workshop.closeclaw.top/ai/book/1cd40951-874b-4d06-9eea-f6afadf57c08","title_url":"https://workshop.closeclaw.top/ai/title/%E5%BE%B7%E5%8B%92%E5%85%B9%E5%85%B3%E9%94%AE%E6%A6%82%E5%BF%B5","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/1cd40951-874b-4d06-9eea-f6afadf57c08/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/1cd40951-874b-4d06-9eea-f6afadf57c08/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/1cd40951-874b-4d06-9eea-f6afadf57c08","page_url":"https://workshop.closeclaw.top/api/ai/books/1cd40951-874b-4d06-9eea-f6afadf57c08/page","search_url":"https://workshop.closeclaw.top/api/ai/books/1cd40951-874b-4d06-9eea-f6afadf57c08/search"},"page":{"printed_page":110,"pdf_page":124,"physical_index":124,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"46a3360c55125281b008a92ed34e8d39ecd29f08bc08a825a50d1b483befa216"},"chapter":"德勒兹：关键概念 （原书第2版）","content":"相反，凭借像ABC启蒙书一样的展开方式（“A：动物[Animal]”、“B:醉酒[Boire]”、“C：文化[Culture]”，等等),《人门》的情节运动考虑到的是围绕主题的某种编排(weaving)，而不是德勒兹和帕内特十年前寻找的那种中间物(in-between)。其至在某一个环节(比如在“C：文化”中)，当德勒兹谈到他如何通过与电影摄影师的相遇来探求理念的冲击力时，帕内特几乎陷入恐慌，她突然止住他，说：“你就要开始搞我的[字母]！’了！快停下来！你就要开始搞我的[字母]1’了！”5不管这部八个半小时的电视访谈有多丰富，显而易见的是，由于这种交流必然是线性的展开，所以帕内特后来意识到了该对话的局限性。因此，在2004年发行的DVD版《入门》中，帕内特和导演一制作人皮埃尔-安德烈·布唐(Pierre-André Boutang)通过提供一个新的理解模式—“通过中间”(par le milieu)—来寻求解决方案，也就是说，提供这三张分开的光盘各自与主题要点之间的联系，而不是和每一个字母开头的联系(当然，也是看得见的联系)。帕内特甚至在一个写着《对话录》的摘录文字的方框中解释了这个装置：\n\n摆脱按字母顺序排列的字母专制吧。吉尔·德勒兹已经表明，依靠某种中间物进入或离开：那就是这部DVD现在提供给我们的东西，音乐性思想运动的别样的重音、微小而又无限的变奏。“中间(milieu)和平均数毫无关系，它不是一条中间路线，亦非某种中庸的形式。相反，它是绝对的速度，从中间生长出的任何事物都被赋予了这样一种速度”[D：30]。\n\n77\n\n110\n\n德勒兹：关键概念(原书第2版)","previous_page":109,"next_page":null}