{"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":106,"pdf_page":161,"physical_index":161,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"5e4e4710fdc672552eeb09796380fde67d837f56521547636cfb486b888ae411"},"chapter":"第二章 从相似到表象：走向大写的构序","content":"在青年福柯拟造的第一构境层中,那个虚的三角形不在了,因为模特(小公主)并不是在福柯设定的观众的位置上,而已经到了画布中央,画中画板上的肖像也不再是国王夫妇;第二个光线建构的画境建构层基本没有变化;那第三个福柯假想的最重要的构境层也已经瓦解，因为国王虽然是现实中的权力中心，但并不是此画的中心，他只是应邀来到了原来表象中表象对象的主体的位置，所以他绝不可能成为建构表象的表象的不在场之权力性盲点。其实我以为，真正的表象之表象的不在场的消失的主体，正是画家本人，他作为不是王权的人在画中自己制造的表象里出场，却将抗拒王权的制造本身消隐在文艺复兴之后的现实中。杨凯麟博士在评论福柯对此画的讨论时说：“如果《宫娥图》意味着抟聚于某个不在场国王(或国王的位子)的知识论部署，并且由此开启《词与物》关于表象体制的精彩论述，这本书则结束于语言存在的重新返回与著名的人之死’。”[15]那么，按照我这里的重新构境，那个空位就不再是传统专制社会中国王的可见权力，而是制造表象的表象者，他本身也是表象的一部分。这个新凸显的格式塔构境立意可能会更深刻一些。\n\n回到福柯\n\n106","previous_page":105,"next_page":107}