{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","title":"象征的贫困 2：感性的灾难","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787305250415","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","id":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","uuid":"b708aa90-cb9d-4126-93b7-4c56ecb08efe","title":"象征的贫困 2：感性的灾难","normalized_title":"象征的贫困2感性的灾难","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787305250415","isbns":["9787305250415"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":288,"navigation_url":"https://workshop.closeclaw.top/ai/book/b708aa90-cb9d-4126-93b7-4c56ecb08efe","title_url":"https://workshop.closeclaw.top/ai/title/%E8%B1%A1%E5%BE%81%E7%9A%84%E8%B4%AB%E5%9B%B0%202%EF%BC%9A%E6%84%9F%E6%80%A7%E7%9A%84%E7%81%BE%E9%9A%BE","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/b708aa90-cb9d-4126-93b7-4c56ecb08efe/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/b708aa90-cb9d-4126-93b7-4c56ecb08efe/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/b708aa90-cb9d-4126-93b7-4c56ecb08efe","page_url":"https://workshop.closeclaw.top/api/ai/books/b708aa90-cb9d-4126-93b7-4c56ecb08efe/page","search_url":"https://workshop.closeclaw.top/api/ai/books/b708aa90-cb9d-4126-93b7-4c56ecb08efe/search"},"page":{"printed_page":130,"pdf_page":145,"physical_index":145,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"7ed950a03dcf58242e1410b7ae4e0969681a0ca607673cbbac57ce5733ba3c21"},"chapter":"第三章 我们大家","content":"这个他“不需要再看”看守，然而却像幽灵一样时时回来，以阿拉斯所看的整体方式回来，这是他所做的一次经历，成为一种独特类型的第二持存，这是我在下一章中要说的概念，以此批判弗洛伊德的感知概念，一种典型创伤的持存：正是这个印象在时间的深处进行加工，成为一项重大任务，以便在整个循环中构成表达，这个循环也是一次历险，克利将这个历险设想为表现主义的思想本身。\n\n31.重复的冲突\n\n如果说必须重看一幅绘画，而且需要时间去体验该画的共在，因为对其观看缺失，命名也缺失（既然它不存在），那就要努力坚持，以坚持来抵抗其自身的阻力，那么一段音乐也是这样：如果它不让您有再听它的欲望，再演奏它的欲望，或许这就不是一段好听的音乐，抑或这不是你听它的正确方式没有坚持，没有善于等待它起立，等待它抚养你，像抚养它的孩子那样。\n\n这就是马塞尔的实践，听的实践，对凡德伊奏鸣曲的排练①，当然还有对《费德尔》剧本的练习，还有拉贝玛（laBerma）的表演，他只是在事先对剧本进行了解，并且不停地排练和反复练习之后，才开始欣赏她的表演：\n\n① 法语中，“重复”和“排练”是同一个词：répétition。——译注\n\n130\n\n象征的贫困2：感性的灾难","previous_page":129,"next_page":131}