{"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":107,"pdf_page":162,"physical_index":162,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"dc07027585f277650b3f548c65cb63cada158f198fb5268fc015dd634d9abc38"},"chapter":"第二章 从相似到表象：走向大写的构序","content":"有趣的事情还有,在1957年毕加索[16]对委拉斯开兹《宫娥》的戏仿之作[17]中,我们看到毕加索将背景墙上的国王夫妇的影像涂抹成一个变形的怪影。在他的理解中，这幅文艺复兴之后的画作中的国王并非至高无上，因而故意涂抹深度透视。\n\n在毕加索的重构中，真正重要的只有两个人：一是画中的画家，二是下跪的侍女萨米恩托。这二人都成了毕加索立体画变形的主角:画家变形成头顶着天花板的巨人，胸前的勋章变形成一整个胸铠上的大符码，因为他才是顶天立地的表象之表象的大写主体;而侍女萨米恩托则是这画中最复杂的立体具象组合。画家画跪下的宫中侍女，这是毕加索理解的作品主题和抽象画构境。于是，毕加索认为不重要的人在画中都抽象变形成了象征性的幻影:小公主成了一只眼睛一只臂膀的玩偶，向国王行礼的侍女被抽象成了马面怪物，主管成了幽灵般的黑影，小丑和狗成了无内容的白影，女侏儒成了可笑的南瓜头，女仆、侍卫和国王夫妇都成了一个人形幻影。光线还在，不过，它只是一种黑白对比的因素，而不再是让事物成为真实可见性的表象支点。表象不再再现，只余下象征。\n\n第二章 从相似到表象:走向大写的构序\n\n107","previous_page":106,"next_page":108}