{"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":261,"pdf_page":276,"physical_index":276,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"88ad3a11c157a8369fb8a938382f96173f6915f06c8ea56cd23e6df386897b23"},"chapter":"第五章 析取的合取","content":"景观所激发的公民，在技术上将得到提高晋级，借助悲剧出现的技术条件，借助第三持存的拼写形式，拼写正好能开启危机，而任何悲剧都是该危机的神秘起源的表达，这种表达之所以成为悲剧，那是因为神话写作的社会已经变得具有政治性，因为密索斯（muthos）在此成了逻各斯(logos)，时时都会提出其命运的问题，即道兹所说的“遗传的乌合之众”②。\n\n大厅的平常不指示任何的低下：倒是悲剧性的条件本身，它具有其平常性。但这也是悲剧性的意义所在，是这个平常性能够回归非平常性的意义所在，这种平常性就来自非平常性，而戏剧将其搬上舞台。\n\n58.想象、创造、技艺：游戏规则与不存在的我\n\n不存在不开放为场景的社会空间：社会性在上演，它引入了可以呈现为社会性的事物。戏剧的社会性，作为社会之物的上演，这就是呈现一种可以上到舞台的事物，作为个体化的投射和物化，这一个体化既是心理的，即英雄的个体化，也是集体的，即城邦的个体化。这种表演就是游戏规则的表演，雷诺阿如是说。\n\n①夏尔·塞加尔(Charles Segal)，《真相、悲剧、文字》，载马塞尔·德迪埃内(Marcel Detienne)等人的《古希腊的文字常识》，里尔大学出版社，1992年。\n\n②道兹(Eric RobertsonDodds)，《希腊人与非理性》，弗拉玛里翁出版社，1995年。我将详细讨论这个问题，参见《技术与时间4:象征与对征，或西方的诞生》，待出版。\n\n第五章 析取的合取\n\n261","previous_page":260,"next_page":null}