{"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":239,"pdf_page":254,"physical_index":254,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"a3fa5201853a6346a4b1604f49a45f5478f230c1d90b4ffbd704923e46f38224"},"chapter":"第五章 析取的合取","content":"第五章 析取的合取\n\n奥尼卡①究竟在哪儿？\n\n他们的眼睛会成器。\n\n爱德华·马奈\n\n继W.B.斯坦福之后，我们肯定可以想象一种关于悲剧的思考，这种悲剧不太关注对情感的缩减或摆脱情感，而更关注其体裁求助的方式，以便激发情感，甚至维持情感。\n\n尼古拉·罗洛(Nicole Loraux）\n\n52.艺术家是什么？\n\n艺术家是个体化的一个样板形象——被理解为心理与集体个体化的过程，在该过程中，一个我只存在于我们之中，而一个我们由它假定的前工业资产那既超级饱和又拉伸出来的潜力构成，同时还由众多个我所包含的若干历时性构成，因为这个我们只有通过众多个我才能形成。这些个我，或心理的个体，是前个体潜能的继承者，同时又是这个前个体潜能的拉伸，将所有的我与它们所构成的我们联系起来，而且每个我都处在自己的风格中。\n\n①“奥尼卡究竟在哪儿?”法文为Mais où est donc Ornicar?原为一部法国电 影《Mais où et doncOrnicar?》(1979)的片名。斯蒂格勒对标题做了更改，把 et 改成了est，成为一文字游戏，赋予另一种含义。—译注\n\n第五章 析取的合取\n\n239","previous_page":238,"next_page":240}