{"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":108,"pdf_page":163,"physical_index":163,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"d5f253dd9503e5263381ffa04f461c3210e9ca0f813e9152c7a18604d0552a10"},"chapter":"第二章 从相似到表象：走向大写的构序","content":"在青年福柯与毕加索之间，我倾向于后者的精准深刻。\n\n其实，我在网上还找到了一幅对此画真正后现代的摄影版的戏仿之作。[18]\n\n在此照片中《宫娥》中的画家变成了一位英俊潇洒的青年男摄影师，手持一架哈苏相机19]，多重目光交织支点之一的画布不见了,转化成相机中不直接在场的数字影像。现在，表象的方式被现代化了，比特的数码存在可以拟像和重建一切。当然，现在被光线照亮的前排人物都成了造型各异的模特，她(他)们之间不再存在中心和等级，而只是不同的平等视位。原先复杂的传统表象中的多重深度目光构成的复杂关系构境已经不在，人们的眼中只剩下无深度的诱惑和欲望，这是一种散漫的目光扫射。被时尚之眼所捕捉的只是性感和漂亮的外形，而不再有思想和真正的存在。国王夫妇还在，但他(她)们不再是现实大他者的镜像，而只是过往那段宏大历史记载的破旧图景。这恐怕会是后现代最恶毒的反讽。\n\n回到福柯\n\n108","previous_page":107,"next_page":109}