{"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":236,"pdf_page":251,"physical_index":251,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"56f1f322ff0e71791cdfbb8353d877923d1da4b16e6232aba74f829ca413f8dd"},"chapter":"第四章 弗洛伊德的压抑","content":"剩下的问题是，如果说本章中进行的考察构成了惊呼(它是作为能意感性谱系学研究的普通器官学的引领动机，而这种研究本身也被理解为升华的力比多经济学）历史的先决条件，而在这个惊呼谱系学理论起源之时，就必须动员起弗洛伊德的话语，即关于重复的问题和做出反应的必要性，以便能够承载这个重复，这便是精神发泄（abréaction）之所在。这将是我在本著作第三卷中讨论的问题，并且将在《技术与时间5》中进行深化。\n\n这个问题，在我们现有阶段，就是要弄清这个事情怎么能成为可能？即我所说的“客体的第一持存”怎么突然间变成了既是净化（catharsis）又是催化（catalyse)，也可以说是个体化的灾难（catastrophè)，即量子跳跃①的激发器，解放出某个创伤原型的意外。这样一个创伤原型，因为艺术作品可以成为其投射的载体，就不仅仅是一个能意灵魂的载体：它是所有能意灵魂的前工业资产的载体，正是这样，创伤原型会穿透刻板原型所构成的保护屏障，因为这就是保护屏障：一面刻板原型之墙，一面“铁墙”，而且必须“打磨”，阿尔托在谈及凡·高时如是说①。\n\n① 参见下一章。\n\n236\n\n象征的贫困2：感性的灾难","previous_page":235,"next_page":237}