{"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":131,"pdf_page":151,"physical_index":151,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"7f40571fbdd67207bd7334d8484359903a3c0a84003b1512f311998d19d1c0a9"},"chapter":"非人：漫谈时间","content":"这里需要艺术史家的能力来解释：崇高之名如何在1940年代回到一位纽约犹太画家的笔下。“崇高”这个词从今天主流法语的通常用法来看意味着引起惊奇(étonnement)(接近于美语的“great”）和崇拜(admiration)的东西。不过，它所包含的观念也属于至少两个世纪以来对艺术的最严谨的反思。纽曼没有忽略“崇高”一词在美学和哲学上的重要性。他读过伯克的《关于我们崇高与美概念之根源的哲学探究》(APhilosophical Enquery into the Origin of Our Ideas of the Sublime etBeautiful)。他批判伯克对崇高作品的描述太“超现实主义”了。最后，纽曼反而认为超现实主义太依赖于一种对非确定物的前浪漫主义或者浪漫主义的研究方式。所以，当纽曼在“这里和现在”里寻找崇高性时，他与浪漫主义艺术的雄辩术是断开的，不过他也没有抛弃浪漫主义艺术的根本任务，即绘画或者其他表达是对不可表达之物的见证。不可表达之物不在那里，或者另一个世界，或者另一个时间里，而是在这件事情上:发生了（某事）。在对绘画艺术的规定里，非确定物，即发生(leIlarrive)，就是颜色、画作。作为意外事件和事件，颜色、画作不是可表达的，而这正是它所要见证的。\n\n如果忠诚于这种转移——浪漫主义和“现代”先锋主义之间的所有区别可能就在于这种转移—《崇高即现在》应该的翻译不是 Le sublime est maintenant(崇高是现在)，而是\n\n崇高与先锋派\n\n131","previous_page":130,"next_page":132}