{"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":80,"pdf_page":74,"physical_index":74,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"8ad487860e419fbccf5091e0dc7d47fdb46620f2e954f102633d70ca2aeb27d8"},"chapter":"非 谢晓川译 韩炳哲 Byung-Chul Han 物著","content":"物中潜伏着的危险\n\n在米老鼠的系列动画片里，对物性实在的表现随着时代的变迁而变得不同。[80]在早期的动画系列剧集中，物以极为潜伏的方式出现。它们获得了独立的生命（Eigenleben），更确切地说，获得了独立的意义(Eigensinn)，它们作为无法预测的参演者出场。主角永远围绕着它们进行打闹。各种物让主角围着它们转圈，用搞笑的方式来戏弄他。在物附近停留不是没有危险的。门、椅子、折叠床、柜子或者车辆都可能转眼就变成了危险的对象和事件。机械充分展现出了它邪魔的面目。爆炸无处不在。主角完全受制于物的任性和无法预测性。物不断地制造挫折。这个系列动画片的乐趣大部分源于物中潜伏着的危险。\n\n查理·卓别林在他早年的电影中也极度任由物中潜伏着的危险来摆布他。物在他身边乱飞，横躺在他面前制造障碍。情景喜剧源于和各种物的作对。物摆脱掉了它们的使用功能关联，获得了独立的生命。物的无序状态是获得这种物之生命的先行条件。比如在电影《当铺》中，作为典当师的卓别林像检查人的身体一样，用听诊器和锤子来检查闹钟，又用手摇钻和罐头的开罐器来打开这个闹钟。[81]被拆开闹钟的机械部分，像是获得了生命，各自独立并且活动起来。[82]\n\n54\n\n[80] Matthew B. Crawford, Die Wiedergewinnung des Wirklichen. Eine Philosophie des Ichs im Zeitalter der Zerstreuung, Berlin 2016, S. 111 ff.\n\n080","previous_page":null,"next_page":null}