{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"93774889-849e-4045-9d9d-2a2715cd4bcc","title":"游牧思想 吉尔•德勒兹 费利克斯•瓜塔里读本","author":null,"edition":null,"publisher":null,"year":null,"isbn":"7206043542","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"93774889-849e-4045-9d9d-2a2715cd4bcc","id":"93774889-849e-4045-9d9d-2a2715cd4bcc","uuid":"93774889-849e-4045-9d9d-2a2715cd4bcc","title":"游牧思想 吉尔•德勒兹 费利克斯•瓜塔里读本","normalized_title":"游牧思想吉尔德勒兹费利克斯瓜塔里读本","author":null,"edition":null,"publisher":null,"year":null,"isbn":"7206043542","isbns":["7206043542"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":396,"navigation_url":"https://workshop.closeclaw.top/ai/book/93774889-849e-4045-9d9d-2a2715cd4bcc","title_url":"https://workshop.closeclaw.top/ai/title/%E6%B8%B8%E7%89%A7%E6%80%9D%E6%83%B3%20%E5%90%89%E5%B0%94%E2%80%A2%E5%BE%B7%E5%8B%92%E5%85%B9%20%E8%B4%B9%E5%88%A9%E5%85%8B%E6%96%AF%E2%80%A2%E7%93%9C%E5%A1%94%E9%87%8C%E8%AF%BB%E6%9C%AC","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/93774889-849e-4045-9d9d-2a2715cd4bcc/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/93774889-849e-4045-9d9d-2a2715cd4bcc/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/93774889-849e-4045-9d9d-2a2715cd4bcc","page_url":"https://workshop.closeclaw.top/api/ai/books/93774889-849e-4045-9d9d-2a2715cd4bcc/page","search_url":"https://workshop.closeclaw.top/api/ai/books/93774889-849e-4045-9d9d-2a2715cd4bcc/search"},"page":{"printed_page":265,"pdf_page":285,"physical_index":285,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"5866e31a8c11e41c686b31f9f305d034f80776c850a6626dd2c7d15a16468596"},"chapter":"游牧思想吉尔·德勒兹 费利克斯·瓜塔里读本","content":"① 见 Erest de Martino, La terre du remords (Paris: Gallimard, 1966), pp. 142 -170.但马提诺仍然保留了基于原型、模仿和认同的一种阐释。\n\n② Jean Claude Larouche, Alexis le trotteur (Montreal: Ed. du Jour, 1971). 他们引用了这样一段话：“他不像我们这样用嘴演奏音乐：他有一个巨大的口琴，我们甚至无法使用……当和我们一起演奏时，他会突然决定超过我们一倍：换言之，他加倍了节拍：我们奏一个节拍，他奏两个，那需要非凡的风力”（p.95)。\n\n生成强度，生成动物，生成无感知\n\nthe discursive practice series\n\n265","previous_page":null,"next_page":null}