{"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":51,"pdf_page":66,"physical_index":66,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"7614ee273ccf07f618dccb46a1863e2d24f7390634a7ec36cb42890b16d0997d"},"chapter":"第一章 为感觉而参与","content":"但是，这样一个没有立即过渡到能意行动的感性，它会推延这个行动，正如现实原则就是快感原则的延异：感性借之过渡到行动并成为感官的循环，它具有时间性，而这个可能会很长的时间性，它构成了一种升华的经济。它服从于一些复杂过程，即德里达所说的延异，而这种延异尤其接纳了众多的可能性，如压抑、否定和倒退等，借助这些可能性，灵魂避免变质，也就是说避免进入运动，即避免进入行动。\n\n因此，保罗·克利才这么说：\n\n……在表现主义中，接受和生产性复原之间可能会过去许多年，不同的印象碎片可以重新放置于新的组合中，更有甚之，一些古老的印象，在多年潜伏之后，也会通过更为新近的印象得以激活。①\n\n①保罗·克利(Paul Klee)，《现代艺术理论》，贡梯耶出版社(Gonthier)，1964年，第9页。克利在这句话之前还说过，印象派和表现主义指定了“作品诞生的决定点”，他明确指出：“对印象派而言，是这个本质印象的接受时刻；对表现主义而言，则是稍后的时刻，有时我们不能再一对一地展示其同质性，因为在前一个时刻，所接受的印象已经得到返还。”\n\n第一章 为感觉而参与\n\n051","previous_page":50,"next_page":52}