{"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":47,"pdf_page":67,"physical_index":67,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"23cb92c1182b5c3071309cd2cd98e7f18fa3bf499319ce25c3ba8271e416f800"},"chapter":"游牧思想吉尔·德勒兹 费利克斯·瓜塔里读本","content":"有一种悲剧的重复和一种喜剧的重复。实际上，重复总是出现两次，一次以悲剧结局，另一次以喜剧告终。在戏剧中，主人公之所以重复恰恰因为他与一种本质的无限的认识相分离。这种认识在他的内心，浸透他的身心，作用于他，但像某种潜在的东西，像受阻的表征一样作用。喜剧与悲剧之间的区别与两个因素相关：第一个是被压抑的认识的本质—在一种情况下是直观的自然认识，常识的简单表达，在另一种情况下就是可怕的神秘知识；结果，第二个因素就是人物被从这种认识中排除的方式，即“他并不知道他知道”。一般说来，实际的问题是这样的：这种未知的知识必须再现为对整个场面的沐浴，浸透着戏剧的全部因素，自身包含着精神和自然的全部力量，而同时，主人公又不能将其向自身再现出来一相反，他必须把它表演出来，演示出来，重复出来，直到达到亚里士多德所说的“认识”的敏锐时刻。此时，重复与再现相互遭遇，\n\n① Freud, “Remembering, Repeating and Working - Through ( Further Recommenda-tions on the Technique of Psycho – Analysis, II)\", 1914, in James Strachey (transl. anded.), The Standard Edition of the Complete Psychological Works of Sigmond Freud, 24 vols. ,London：Hogarth，1953-73（1958）vol. 12，pp. 147-56. 对心理重复的这一否定阐释（人们重复是因为人们犯了错误，因为人们没有运用记忆，因为人们缺乏意识，因为人们没有本能）在Ferdinand Alquié那里得到了最有力的发展，见FerdinandAlquié, Le désir d’éternité,\n\nParis: Presses Universitaires de France, 1943, chs 2 – 4.\n\n重复与差异\n\nthe discursive practice series\n\n47","previous_page":46,"next_page":48}