{"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":65,"pdf_page":96,"physical_index":96,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"6bcba07c538b5e78b97d82323ecfa181129077cbd6d1311a2663041c16976754"},"chapter":"第一章 时间","content":"由“无影像的思想”翻转为“影像就是思想”，影像与思想的戏剧性关系形构了德勒兹哲学历经二十余年的关键转折，不仅重置影像概念，而且赋予思考至为独特的现代性意涵。这个形上学转折是德勒兹哲学中至关重要的赌注，我们想探究与追索的正是经由繁复辩证所建构且由差异思考所标识的这门独特影像论。\n\n1. 影像的柏格森主义\n\n透过《运动-影像》(1983)与《时间-影像》(1985)两本著作，德勒兹重新构思了影像概念。书名前分别冠上“电影1”与“电影2”的这两本书表面上只是单纯的电影史研究，然而《运动一影像》的第一句话便直接排除了这个误解：“本研究并非电影史”[1]。令人迷惑的是，法国哲学家柏格森基于其形上学立场对电影的大加挞伐相当著名，却是这两本电影书的主要引用对象[2]，德勒兹经由电影所建构的影像论几乎就是柏格森《物质与记忆》的庞大注释。德勒兹似乎想以影像的柏格森主义从影像的柏拉图主义中逃逸，只是吊诡的是，这门影像论建立在正面解读柏格森所否定的电\n\n第一章 时间\n\n[1]IM,7.\n\n[2]柏格森对电影影像的批评着落于其透过人类知觉的缺陷机械地再现一种虚假运动， 主要可参阅他的《创造的进化》第四章“思想的电影机械论与机械论幻想”(Lemécanisme cinématographique de la pensée et l'illusion mécanistique).\n\n65","previous_page":64,"next_page":66}