{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"c1acbb68-5873-42b3-b81a-ecd4fc576447","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":"c1acbb68-5873-42b3-b81a-ecd4fc576447","id":"c1acbb68-5873-42b3-b81a-ecd4fc576447","uuid":"c1acbb68-5873-42b3-b81a-ecd4fc576447","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/c1acbb68-5873-42b3-b81a-ecd4fc576447","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/c1acbb68-5873-42b3-b81a-ecd4fc576447/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/c1acbb68-5873-42b3-b81a-ecd4fc576447/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/c1acbb68-5873-42b3-b81a-ecd4fc576447","page_url":"https://workshop.closeclaw.top/api/ai/books/c1acbb68-5873-42b3-b81a-ecd4fc576447/page","search_url":"https://workshop.closeclaw.top/api/ai/books/c1acbb68-5873-42b3-b81a-ecd4fc576447/search"},"page":{"printed_page":108,"pdf_page":102,"physical_index":102,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"a74b560dbb1234c41bde77307e83d7f49a242f1d06b3a6f4e50e46b4e7c179bf"},"chapter":"非 谢晓川译 韩炳哲 Byung-Chul Han 物著","content":"巴特区分了两种形式的歌唱。享乐的原则、身体和欲求支配着“天然的歌唱”（Genogesang），而“表现的歌唱”(Phänogesang）则致力于交流、致力于传达意义。在“表现的歌唱”中，着力于意义和含义的辅音占据着主导位置。与之相对，“天然的歌唱”则将辅音用作“值得赞赏的元音的跳板”。这些元音包含着具有快感的身体、欲求。它们构成了语言的肌肤。它们让人产生鸡皮疙瘩。源于辅音的“表现的歌\n\n75\n\n[128] Ebd., S.271.\n\n108","previous_page":107,"next_page":null}