{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"24db3d42-72f5-4236-8255-80f6ff3283d0","title":"回到福柯 暴力性构序与生命治安的话语构境","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787208136014","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"24db3d42-72f5-4236-8255-80f6ff3283d0","id":"24db3d42-72f5-4236-8255-80f6ff3283d0","uuid":"24db3d42-72f5-4236-8255-80f6ff3283d0","title":"回到福柯 暴力性构序与生命治安的话语构境","normalized_title":"回到福柯暴力性构序与生命治安的话语构境","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787208136014","isbns":["9787208136014"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":611,"navigation_url":"https://workshop.closeclaw.top/ai/book/24db3d42-72f5-4236-8255-80f6ff3283d0","title_url":"https://workshop.closeclaw.top/ai/title/%E5%9B%9E%E5%88%B0%E7%A6%8F%E6%9F%AF%20%E6%9A%B4%E5%8A%9B%E6%80%A7%E6%9E%84%E5%BA%8F%E4%B8%8E%E7%94%9F%E5%91%BD%E6%B2%BB%E5%AE%89%E7%9A%84%E8%AF%9D%E8%AF%AD%E6%9E%84%E5%A2%83","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/24db3d42-72f5-4236-8255-80f6ff3283d0/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/24db3d42-72f5-4236-8255-80f6ff3283d0/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/24db3d42-72f5-4236-8255-80f6ff3283d0","page_url":"https://workshop.closeclaw.top/api/ai/books/24db3d42-72f5-4236-8255-80f6ff3283d0/page","search_url":"https://workshop.closeclaw.top/api/ai/books/24db3d42-72f5-4236-8255-80f6ff3283d0/search"},"page":{"printed_page":104,"pdf_page":159,"physical_index":159,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"ca7c7a4b631604b2ef681271035cd66a6416b28aeae894348d5604fbc109ac5d"},"chapter":"第二章 从相似到表象：走向大写的构序","content":"青年福柯这里的言外之意也是其后即将出场的西方古典认识型的隐喻。杨凯麟博士说：“《宫娥图》因为其交织折返的虚拟光线、其既嵌陷又暴凸观者的特异空间，被福柯认可为古典时期的绝佳布置。”[12]这是对的。用福柯自己的话来说，“《宫娥》表现了构成表象行为的所有要素:画家、模特、画笔、画布及镜中的映像，它将绘画本身分解为构成表象的各个要素”[13]。表象(représentation)即古典认识型的本质构式方式,而《宫娥》则是说明了“古典表象(la représentationclassique)之表象和它敞开的空间的限定”。福柯的这种可怕的哲学构境一定会让画作者委拉斯开兹瞠目结舌的。福柯显得有些得意地说，\n\n在这里，表象着手在自已的所有要素(éléments)中表象自己，还有它的肖像，接受它的那些眼睛，它使之成为可见的那些面孔，以及使它存在的那些姿势。但是，由表象既汇集又加以散播的这个弥漫性中，存在着一个从四面八方都急切地得到指明的基本的虚空(un videessentiel):表象的基础必定消失了，与表象相似的那个人消失了，认为表象只是一种相似性的人也消失了。这个主体(sujet)——是同一个主体，被消除了。因最终从束缚自己的那种关系中解放出来，表象就能作为纯表象(purereprésentation)出现。[14]\n\n回到福柯\n\n104","previous_page":103,"next_page":105}