{"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":26,"pdf_page":44,"physical_index":44,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"a73aa0ca8297516440419c2cfcd9c53b3e8c6a7df8bbd8b195ef61b088eb0550"},"chapter":"导读德勒兹","content":"感受(affect)\n\n如果哲学是将语言从对概念和问题的简单定义和定见的固化之中解放出来，那么艺术则是创造感受和感知。感受是发生于我们身上的东西(作呕，或闻到奶酪味道时马上掩鼻)；知觉是我们所接收到的东西(气味，或者味道本身)。在艺术上，感受和感知将这些力量从特定的观察者或者体验着它们的身体上解放出来。简单地说，可以想象一下一部小说中所呈现的“恐惧”，即便我们并不害怕它。感受就是对它们的独特性的感性经验，它独立于组织化的再现系统。诗歌可以创造一种恐惧的感受，但不需要有一个令人恐惧的对象，例如令人恐惧的原因或人物。艾米丽·狄金森(EmilyDickinson,1830—1886)的许多诗歌就通过令人恐惧的语言和心情描述了一些最无害的对象和情景。这些诗歌其中一部分并非通过描述对象而是通过节奏和停顿来达到这种效果，因此正是意义的缺失、停顿、犹豫或者回撤创造了一种恐惧的感受：这种恐惧既不在于某个角色，也不导向某个对象。下面是她的诗歌《287》，它使用了狄金森典型的意象，这些意象通过连字符隔离开来，因此恐惧是对象和它的联系物产生的感受，而非任何诗歌中的说话者或角色所致。这首诗采取了一个对象的视角，即一只停止运转了的钟的视角。\n\n26\n\n导读德勒兹","previous_page":25,"next_page":null}