{"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":143,"pdf_page":158,"physical_index":158,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"641f7c9ed6fd9cbbd40127697446fc963e7fe5a0ddce85092104f5a57b18c11b"},"chapter":"第三章 我们大家","content":"34.艺术与信仰\n\n艺术与宗教一样，它是一个信仰现象：只有在这个范围内，我们才可以说，作为艺术的艺术经验，只有随着上帝之死才可以到来。但是它也和宗教一样，这样一种信仰不仅假设了一种培育，而且还假定一种崇拜，而崇拜就是一种学习。我说的崇拜就是那些属于实践的东西，正如那些短记忆材料的实践，它们形成了自我书写的载体，还有这个自我能够和应该成为的东西，总之，成为一个集体的自我，也就是对话的自我[根据任一短记忆的书信性意义，无论是福柯阅读并解释的意义，即重写和重寄塞涅卡(Sénèque)《写给卢西留斯的信》(lesLettres à Lucilius)，还是德里达在胡塞尔《几何学的起源》“引论”中的意义，或在《声音与现象》中，他对时间的秘密意识现象学的逻辑研究与教训的解释，这样的实践需要技术、做事技能、工具或仪器。\n\n若说艺术假定需要一种信仰，它也同样需要一个距离，即普鲁斯特描写拉贝玛表演《费德尔》时说到的距离，起先他不会寻找这个距离，因为这个距离是信仰所开启的维度，也只有在信仰中，这个维度才能区别出这般的艺术，也就是说把它看作另一个层面，有别于简单存在着的层面，这就是我在司汤达《拉辛与莎士比亚》①的逸闻中所看到的东西，还有安托万·孔帕尼翁所转述的《巴尔的摩的士兵》的故事：\n\n第三章 我们大家\n\n143","previous_page":142,"next_page":144}