{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"ca7a386a-a284-41ec-b146-be626cc2ac01","title":"非人：漫谈时间","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562155560","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"ca7a386a-a284-41ec-b146-be626cc2ac01","id":"ca7a386a-a284-41ec-b146-be626cc2ac01","uuid":"ca7a386a-a284-41ec-b146-be626cc2ac01","title":"非人：漫谈时间","normalized_title":"非人漫谈时间","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562155560","isbns":["9787562155560","9782252039427"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":325,"navigation_url":"https://workshop.closeclaw.top/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01","title_url":"https://workshop.closeclaw.top/ai/title/%E9%9D%9E%E4%BA%BA%EF%BC%9A%E6%BC%AB%E8%B0%88%E6%97%B6%E9%97%B4","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/ca7a386a-a284-41ec-b146-be626cc2ac01","page_url":"https://workshop.closeclaw.top/api/ai/books/ca7a386a-a284-41ec-b146-be626cc2ac01/page","search_url":"https://workshop.closeclaw.top/api/ai/books/ca7a386a-a284-41ec-b146-be626cc2ac01/search"},"page":{"printed_page":120,"pdf_page":140,"physical_index":140,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"0c3798e2fb906d67d99938a901cf5ce400dc42fbb7052cdc4c905d13c93073cc"},"chapter":"非人：漫谈时间","content":"对于伯克来说，诗歌(poetry)(我们也可以把它叫作书写)引发了这种双重且互相阻碍的目的性(finalité)：种下恐惧（我们也可以这样说:威胁语言会停止），以及通过发起或者接受一种“闻所未闻的”语句事件，迎接语言失败的挑战。至于绘画，他断定它不能在它自身的秩序里完成这崇高的职能。文学自由地组合文字并且实验句子，在它身上有一种无限的力量，即语言的自足力量，然而，在伯克的眼里，绘画艺术仍然纠缠于图形再现的各种限制。用一个诸如“上帝的天使”这样简单的表达法，他写道，诗人向思想开启了无限联想;任何绘出的图像都比不上这种财富，它永远都不能超越眼睛可以辨识的事物。\n\n大家都知道超现实主义绘画如何尝试绕过这种不足。它把无限放进组合。图像的元素就算并不总是可辨识的，至少也是确定的，这些元素以矛盾的方式（通过梦的运作模式）被安放在一起。不过，这种“解决方法”还是不能反驳伯克反对绘画在表达崇高性上的能力时提出的异议:超现实主义画家只是把从“知觉现实”(réalitéperceptive)上掉下来的剩余物以不同的方式汇集起来而已。而如果纽曼认为伯克“太超现实主义”，那是因为在绘画上他确实看到了:这种指责只是对一种固执于再现、让人辨识的艺术有效。\n\n在《判断力批判》(Critique de la faculté de juger)里，康德概述了——迅速地而且好像不那么情愿地——针对崇高绘画问题的另一种解决方法。我们不能，他写道，在空间和时间里呈现力量上的无限或者大小上的绝对，它们都是些纯粹的理念。\n\n120\n\n/非人：漫谈时间\n\n87","previous_page":119,"next_page":121}