{"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":99,"pdf_page":154,"physical_index":154,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"eae35b58789fc698058203896c4c4b1edf75bf019d9f07db03e14c43ad59094c"},"chapter":"第二章 从相似到表象：走向大写的构序","content":"第二章 从相似到表象：走向大写的构序\n\n如前所述，在青年福柯眼中，西方近代以来的资产阶级文化史并不是一个连续的平滑线性进程,而是一幅由多重认识型转换所造成的断裂分割开来的不同的物之构序图景。与马克思从唯心史观之断裂中寻找社会生活客观规律的做法不同，福柯是倒过来的，他将社会历史中发生的客观性再一次颠倒为主观构式史观。认识型构式文化，文化生成“物的存在方式”和社会生活，这是一种典型的唯心主义历史观。在他眼里，自17世纪中叶开始，西方资本主义社会以相似性关联为中轴的传统认识型被表象、语言、自然有序和财富及交换理论为核心的古典认识型所取代，由此，魔法的世界也正式被由大写的有序性建构起来的资产阶级新世界图景所取代。历史不是历史自身的发展，而是认识型(词)对物新的构式。本章中，我们具体讨论青年福柯笔下的这种近现代西方文化历史进程中的第一个认识型断裂。\n\n一、可见与不可见中的《宫娥》:青年福柯与毕加索谁看走眼了？\n\n为了说明自己指认的古典认识型的表象论本质，在《词与物》一书开篇的第一编第一章中，青年福柯就以三节的篇幅，洋洋洒洒但却多少显得有些怪异地讨论了一幅在西方美术史上颇为著名的油画——委拉斯开兹(Diego\n\n99","previous_page":98,"next_page":100}