{"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":234,"pdf_page":265,"physical_index":265,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"50143da22f6356719f387d4dc45795b537ae70be8f3ffaacf54e961c156f0e46"},"chapter":"第三章 起源与重复","content":"对德勒兹而言，电影具体化了特异性的运作，并进一步激起众多概念：影像、运动、知觉、情感、时间、思想……，以至最后，已不是电影促成如此多崭新概念的产生，而是反之，这些概念共同造就电影(faitdu cinéma)，而特异性（任意时刻）则是其基本材料。对德勒兹而言，《时间一影像》出版后，哲学等同于一种电影，其既非关电影哲学亦非哲学电影，而是二者共存如同一种平行论(parallélisme)：特异性、影像、运动、时间、思想………都不外在于二者，且正是二者赖以自我建构的组成物。我们因此可以更加理解《时间一影像》的结论：“哲学理论本身与其对象一样是一种实践，它并不比其对象更抽象。这是一种概念的实践，且必须根据它所涉入(interfère）的其他实践来判断它。”[1]哲学实践概念的创造，而电影却实践影像的创造，对德勒兹而言，二者同样都是透过特异性才得以进行其实践，透过两本电影研究，德勒兹使哲学实践涉入于影像与思想所构成的无穷创造性关系中。德勒兹明白指出，只有在这种众多实践的互涉(interférence)中，“事物（存在、影像、概念、所有类型的事件)生成。”[2]透过哲学概念的建构，电影就像观看特异性之眼，一只“第四人称单数之眼”，由此看出，一切都是特异的，且一切特异性都已内在于运动之中，寻常性与特异性并不是先天的，而是产生于多样性的操作之中。\n\n分裂分析德勒兹\n\n[1] IT, 365.\n\n[2] IT, 365.\n\n234","previous_page":233,"next_page":235}