{"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":282,"pdf_page":313,"physical_index":313,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"235f774f8172f8e8ceb493990fc77caee14b0d2fbd7f9cfc1bac8a5bd76aebb6"},"chapter":"第三章 起源与重复","content":"差异的。\n\n德勒兹将共感视为一种“自我的再分配”(redistribution dumoi)，而良知则是“纯粹大写自我”(Moipur)，关于这二者与“我”的关系可参考《差异与重复》，特别是页175与289之后；而在《意义的逻辑》中，共感与良知共构了“意见体系”(doxa)，对立于能给予意义的吊诡。对共感与良知的批判是《意义的逻辑》的主要问题性之一，可参考第12系列“吊诡”，特别是页93—94。\n\ncliché：陈套\n\ncliché原指印刷业的印板或摄影底片，但也转义指任何表现平面上(绘画、摄影、电影、文学、戏剧……)了无新意的陈腔滥调。然而，“陈腔滥调”在中文指涉的是语言层面之物，并不能适切表现法文所具有的影像意义。即使是对其他西方语言而言，cliché无疑也是极难翻译的词汇，英文大抵保留原字不译，本书以“陈套”翻译这个词。陈套这个词作为一种被否定的影像概念大量出现在《感觉的逻辑》、《运动一影像》与《时间一影像》三本著作之中，与德勒兹所批判的“再现体制”有密切关系。就某种程度而言，陈套似乎具体化了德勒兹早期在《尼采与哲学》或《差异与重复》中所一再举发的思想教条影像。\n\n分裂分析德勒兹\n\n282","previous_page":281,"next_page":283}