{"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":129,"pdf_page":147,"physical_index":147,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"2b7b69b624a133fc1d11fafd9991e01cfbff353f7c689c2716cacacb2cec3670"},"chapter":"导读德勒兹","content":"因此针对风格问题，德勒兹提出了一种独特的方法。这不是说，存在着一个言说者的世界，他们通过风格来揭示意义和信息。恰好相反，存在着使言说成为可能的风格或创造，正是在每一个言说的事件之中，言说的位置或者说话者才被现实化。风格最好被思考为潜在的东西，被思考为变量和生成的权力，一种没有先在的参照物或基础的、创造常新之物的权力。德勒兹提供了一系列思考文学如何处理强度和感受的方法。每一个文学事件都开启了何为文学与文学会如何变化这个问题，因此每一个感受的运用和创造自身都是不同的。风格不是对信息的外部的或偶然的装潢，它是对感受的创造，从中言说者和信息才能被识别出来。\n\n6 少数文学:永恒回归的权力\n\n129\n\n1即《弗兰西斯·培根：感觉的逻辑》(Francis Bacon: The Logic of Sensation)。—译者注","previous_page":128,"next_page":130}