{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","title":"导读德勒兹","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562482765","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","id":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","uuid":"aad4d586-86fc-4d21-a20d-fd3da08aedc1","title":"导读德勒兹","normalized_title":"导读德勒兹","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562482765","isbns":["9787562482765"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":241,"navigation_url":"https://workshop.closeclaw.top/ai/book/aad4d586-86fc-4d21-a20d-fd3da08aedc1","title_url":"https://workshop.closeclaw.top/ai/title/%E5%AF%BC%E8%AF%BB%E5%BE%B7%E5%8B%92%E5%85%B9","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/aad4d586-86fc-4d21-a20d-fd3da08aedc1/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/aad4d586-86fc-4d21-a20d-fd3da08aedc1/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/aad4d586-86fc-4d21-a20d-fd3da08aedc1","page_url":"https://workshop.closeclaw.top/api/ai/books/aad4d586-86fc-4d21-a20d-fd3da08aedc1/page","search_url":"https://workshop.closeclaw.top/api/ai/books/aad4d586-86fc-4d21-a20d-fd3da08aedc1/search"},"page":{"printed_page":118,"pdf_page":136,"physical_index":136,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"61c963de8992af07e1d84749619019c0df978d7c667dd4916ad68af3aa67153e"},"chapter":"导读德勒兹","content":"拟像\n\n今天，当我们使用“潜在现实”这样的词语的时候，我们的说法就好像：存在一个现实的或真实的世界，它仅仅存在，然后才有它的潜在面向或非真实的副本。今天我们也经常“后现代”地思考世界，因为世界已经失去了它与现实世界的联系，它已然被副本和影像所支配。后现代的世界被电视、广告、产品设计副本、克隆、名牌的无意义的重复和计算机对一切事物的仿真所充斥。不管我们是否庆贺还是哀悼这个世界，我们仍然通过现实和潜在截然二分的方式来描述它:曾经一度我们是接近现实的(现成的东西)但现在我们只剩下影像(潜在的东西)了。根据当代思想家让·鲍德里亚(Jean Baudrillard)的说法，这就是为何后现代文化被描述为“拟像”的社会。\n\n118\n\n导读德勒兹\n\n97","previous_page":117,"next_page":null}