{"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":287,"pdf_page":301,"physical_index":301,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"bf6f3975f5ccd04b71814cb62296f66f4ed926a588428f06575e59f636849e14"},"chapter":"德勒兹：关键概念 （原书第2版）","content":"偏差是由西恩·汉德(Séan Hand)那典雅的《福柯》(1988)译文引发的，它把embarkation这个词翻译成作为“外在之内在”的“小船”。对于这个读者来说，重点在于行动，在于登船的动作，而非运送的模式，尽管福柯在《另类空间》(Of Other Spaces)(这是一次讲座，首次举办于1967年，首次发表于1984 年[Foucault 1998])中讨论异托邦(heterotopias)的时候，“小船”是一个具有优先性的形象，当然，还有《疯癫与文明》(MadnessandCivilization,1973)开头的“愚人船”(stultifera navis)。\n\n伊卡洛斯(Icarus)是希腊神话中的人物，为巧匠代达罗斯(Dacdalus)之子。他与其父双双以蜡翼粘身飞离克里特岛，因飞得太高，蜡被阳光融化，坠爱琴海而死。—译者注\n\n这种感知性可以在一个语法建构中看到，这个建构证明这种感知性是到处存在的：“包含在作为主语的观念中的，永远是以动词为标志的事件，或者以介词为标志的关系：我在写作，我要去德国，我要横渡卢比肯河”(FLD：52,译文有改动)。\n\n12 马拉美的“折扇”诗收于马拉美的《全集》中(1945：107-10)。\n\n德勒兹在《电影1:运动-影像》(1986)中写道，画框“既是可读的，又是可见的”(C1：12)，在《电影2:时间-影像》(1989)中他写道，影像被展示为“既是可读的，又是可见的”(C2：22)。至于最近关于德勒兹对褶子的理解的论述，请参见图恩和麦克唐纳(2010)。\n\n15 褶子与折叠\n\n287","previous_page":286,"next_page":null}