{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"bc8ca5fd-fd77-4dc8-884d-5c832ab8a702","title":"非物：生活世界的变革","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"bc8ca5fd-fd77-4dc8-884d-5c832ab8a702","id":"bc8ca5fd-fd77-4dc8-884d-5c832ab8a702","uuid":"bc8ca5fd-fd77-4dc8-884d-5c832ab8a702","title":"非物：生活世界的变革","normalized_title":"非物生活世界的变革","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":153,"navigation_url":"https://workshop.closeclaw.top/ai/book/bc8ca5fd-fd77-4dc8-884d-5c832ab8a702","title_url":"https://workshop.closeclaw.top/ai/title/%E9%9D%9E%E7%89%A9%EF%BC%9A%E7%94%9F%E6%B4%BB%E4%B8%96%E7%95%8C%E7%9A%84%E5%8F%98%E9%9D%A9","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/bc8ca5fd-fd77-4dc8-884d-5c832ab8a702/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/bc8ca5fd-fd77-4dc8-884d-5c832ab8a702/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/bc8ca5fd-fd77-4dc8-884d-5c832ab8a702","page_url":"https://workshop.closeclaw.top/api/ai/books/bc8ca5fd-fd77-4dc8-884d-5c832ab8a702/page","search_url":"https://workshop.closeclaw.top/api/ai/books/bc8ca5fd-fd77-4dc8-884d-5c832ab8a702/search"},"page":{"printed_page":106,"pdf_page":100,"physical_index":100,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"c4de1db5af53fbd936ef76f36e84003f8eb45b289fb0e9f64dc8515da0632bf1"},"chapter":"非 谢晓川译 韩炳哲 Byung-Chul Han 物著","content":"瓦尔泽的物料主义（Materialismus）在于：他把诗歌理解为身体。诗歌创作不着力于构建意义，而是着力于构建身体。指称符号首先指向的不是所指，它们掠过所指，自己缩合为一具美丽的、神秘莫测的身体，它具有诱惑力。阅读不是诠释学，而是感触学(Haptik)、是触动、是爱的抚摸。它紧紧贴着诗歌的肌肤。它享受诗歌的身体。作为身体、作为物（Ding）的诗歌让人觉察到一种特殊的当下在场，这种当下在场与诠释学所致力运用的再现相对立。\n\n艺术越来越远离这种将艺术作品理解为物的物料主义。这种物料主义站在实现意义之责任的彼岸，它允许人们不经意地去和指称符号玩游戏。弗朗西斯·蓬热或许会毫无保留地赞同瓦尔泽的物料主义：“从人们将言词（以及言词性的表达）视为物料的那个瞬间开始，用心于言词就是一件非常惬意的事。就像画家专注于颜色与形状一样，这可以是非常惬意的事。和它们进行游戏是至高的享受。”[124]语言是一座游乐场，是“享受乐趣的地方”。语词（Wörter）[125]首先不是含义的承载者。毋宁说，它们实际上“在含义之外获得了它们尽可能高的乐趣”[126]。就此而言，献身于意义的艺术是敌视乐趣的。\n\n74\n\n106","previous_page":null,"next_page":107}