{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"3dbdb0de-b140-4663-a78e-429e74d8b488","title":"超文化：文化与全球化","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787521748666","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"3dbdb0de-b140-4663-a78e-429e74d8b488","id":"3dbdb0de-b140-4663-a78e-429e74d8b488","uuid":"3dbdb0de-b140-4663-a78e-429e74d8b488","title":"超文化：文化与全球化","normalized_title":"超文化文化与全球化","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787521748666","isbns":["9787521748666"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":112,"navigation_url":"https://workshop.closeclaw.top/ai/book/3dbdb0de-b140-4663-a78e-429e74d8b488","title_url":"https://workshop.closeclaw.top/ai/title/%E8%B6%85%E6%96%87%E5%8C%96%EF%BC%9A%E6%96%87%E5%8C%96%E4%B8%8E%E5%85%A8%E7%90%83%E5%8C%96","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/3dbdb0de-b140-4663-a78e-429e74d8b488/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/3dbdb0de-b140-4663-a78e-429e74d8b488/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/3dbdb0de-b140-4663-a78e-429e74d8b488","page_url":"https://workshop.closeclaw.top/api/ai/books/3dbdb0de-b140-4663-a78e-429e74d8b488/page","search_url":"https://workshop.closeclaw.top/api/ai/books/3dbdb0de-b140-4663-a78e-429e74d8b488/search"},"page":{"printed_page":60,"pdf_page":59,"physical_index":59,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e1c2e6571ff0e24d80c618260802bb8285344ab0f4f2de9a63deb2237007cb7e"},"chapter":"Hyperkulturalität","content":"无论奥德拉岱克还是来自北方的游牧民族，他们都不是超文化旅行者。因为，奥德拉岱克一定又回到它的家。卡夫卡的作品中找不到窗口化形象，卡夫卡游牧主义的消极性只创造出了搅扰家宅的幽灵。因此，卡夫卡一直都是家宅或父亲的人质。与游牧民族的残暴不同，拥有友善或快乐特征的奥德拉岱克杂交体在一定程度上与那种带有拼凑结构的超文化身份相近。正如卡夫卡所描述的那样，奥德拉岱克由“乱作一团的各色各样的麻线”组成，因此它拥有一个多彩的自我（colored Self)。\n\n60\n\n超文化","previous_page":59,"next_page":null}