{"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":174,"pdf_page":189,"physical_index":189,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"2c003f1fc110c06fa8f800a7871b94685c92af595897bf0203b2b61f2e061a07"},"chapter":"第四章 弗洛伊德的压抑","content":"第四章 弗洛伊德的压抑\n\n其中生者扣押死者，反之亦然\n\n从自我声称为艺术科学的文明科学角度来看，艺术作品仅位居第二或第三位，它是作坊心理学的对象；对于作品而言，形象元素不管在哪里冒出，都会进入心灵档案的宝库，这档案将根据自我感受到的张力进行组织，以便在激情与节制、冲动释放与知识文化之间寻找其风格。这两个极或两种行为方式形成一种对立冲突，而古老起源的印迹以风格的方式进行干预，正好有利于这种冲突，这些印迹已经收藏于记忆的宝库中……\n\n阿比·瓦尔堡\n\n死者扣押生者。\n\n卡尔·马克思\n\n174\n\n象征的贫困2：感性的灾难","previous_page":173,"next_page":175}