{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","title":"分裂分析德勒兹 先验经验论与建构主义","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","id":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","uuid":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","title":"分裂分析德勒兹 先验经验论与建构主义","normalized_title":"分裂分析德勒兹先验经验论与建构主义","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":327,"navigation_url":"https://workshop.closeclaw.top/ai/book/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","title_url":"https://workshop.closeclaw.top/ai/title/%E5%88%86%E8%A3%82%E5%88%86%E6%9E%90%E5%BE%B7%E5%8B%92%E5%85%B9%20%E5%85%88%E9%AA%8C%E7%BB%8F%E9%AA%8C%E8%AE%BA%E4%B8%8E%E5%BB%BA%E6%9E%84%E4%B8%BB%E4%B9%89","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","page_url":"https://workshop.closeclaw.top/api/ai/books/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/page","search_url":"https://workshop.closeclaw.top/api/ai/books/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/search"},"page":{"printed_page":221,"pdf_page":252,"physical_index":252,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"282e0ed24383e4a25461932610891ff93084f15ab74509a886bf127463a4b93c"},"chapter":"第三章 起源与重复","content":"即使叙事是以第一人称写成，这些书中的主角得以在一种无人称模式上被述说，是因为他们被剥夺一切内在现实，他们只是社交上交换与寻常的意见，他们所表现的不过是他们在本能压力下所完成的空洞行动，其暴力毫无神秘，不过是一种笨拙的不一贯、一种被其所能到达的集体性与历史脉络所攫取的强大缺席(absencepuissante)。所有这一切都早已被千百次地述说、分析及深化，我们所欲强调的，是客观叙事(récitobjectif)的技巧一点都不连结到这种观看下的世界。那么它究竟是什么？就只是绝佳的小说技巧，以及在某种尺度下，所有虚构（fiction）作品与很可能也是所有文学表现的基本要求，如果由大写我过渡到大写它(I)(即使当大写我很自然地只是表象形式时）的努力，如果在语言与我们之间保持距离的努力，为了重新掌握我们自己所努力借助的现实途径，这是愈找出一整个最怪异于我们的事件及词汇以便肉身化就似乎愈不躲避的现实，简言之，如果这种既对语言也对我们自身的剥夺是文学经验的要素的话[2]\n\n附录\n\n[1]“文学追随一条倒反之路，且仅奠基于在表象人称下所发掘的无人称威力，其绝非某种一般性，而是最高等级的特异性：一个男人、一个女人、一头兽、一个肚子、一个小孩….”(CC,13)关于无人称书写在小说的例子，亦可参考《骆以军，空间考古学者与时间拓扑学者》，《书写与影像》，杨凯麟，台北：联经，2015，87-152。\n\n[2] Blanchot, Maurice, La part du feu, Paris : Gallimard, 1984, 178-179.\n\n221","previous_page":220,"next_page":222}