{"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":"145 / 119","pdf_page":163,"physical_index":163,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"eee8a2dfa4aa1be1fbfafb8f797f6c3aed0af944e8b0fcdd3f82cc76bffd1036"},"chapter":"导读德勒兹","content":"永恒回归、差异与重复\n\n因此，所有“伟大的”文学都是少数文学。譬如，乔伊斯的《都柏林人》就是让文本的风格追随都柏林的声音。但是被表达的东西却不是某物之所是，它不是一种民族精神、遗产或家园。都柏林被表达为一种风格，更准确地说，被表达为一种混杂的风格：对宗教语言、口号、来自浪漫爱情小说和商业话语的短语的混合物。使文学成为少数的东西不在于有多少说话者在文学里面被装配，而是这种装配的风格。多数主义的文学或政治将自身呈现为高于或超越于风格的声音，呈现为先于其自己的表达的普遍性的主体。举例说，我们或许可以考察罗贝特·布鲁克(Rupert Brooke,1887—1915)的战争十四行诗里面的一些句子：“假如我会死去，就我一个人：这里有某种异国田野的角落/那是永恒的英格兰”(Brooke1970)。在这里不仅被表达的东西(或内容)被指认为无时间的家乡，言说者处于其中的家乡；这种风格也是多数主义的。因为在这里言说者的位置被清楚地表达为显著的“我”，以及一种循规蹈矩的抑扬格五音步诗行的节奏，就像声音是处于一个永恒的英语诗歌里面似的。诗重复的过去，就像过去是一个不变的整体，是一个言说者参与其中并且从中产生其独特的身份的整体。\n\n6少数文学:永恒回归的权力\n\n145\n\n119","previous_page":162,"next_page":164}