{"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":8,"pdf_page":23,"physical_index":23,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"4befa3ae5c010414000a93508380ac9b3f1c977b11830a10e2296110a1158f14"},"chapter":"第五章 析取的合取","content":"朗读者配音序曲\n\n感觉性的机械转折和音乐的天赋\n\n本序曲是略经修改的版本，包括其形式和某些段落，并且增加了一个尾声和一个书面短文。尼古拉·多南（Nicolat Donin）参与了撰写，在《媒介学期刊》第18期的引言“音乐的工业革命”部分（法亚尔出版，声学与音乐协调研究所，2004年)，尼古拉·多南和我进行过协作。该文章首先以开幕的风格撰写，我将其写成了朗读者配音（尼古拉·多南和我）的序曲，紧跟其后的是一部正剧而非歌剧，而正剧的音乐和缪斯则是各种面具下的人物。\n\n以赫利孔的缪斯起音让我们开始歌唱。\n\n赫西俄德\n\n音乐是生活中所有魅力的本原。\n\n亚里士多德\n\n008\n\n象征的贫困2：感性的灾难","previous_page":null,"next_page":9}