{"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":134,"pdf_page":154,"physical_index":154,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"95c47a004512d2b2963f6f953be0436b442fda343d15049874329d69489fc3f0"},"chapter":"非人：漫谈时间","content":"然而，当关涉崇高时，就会出现与修辞学或者诗学的常规陈述相对立的主要障碍。朗吉努斯写道，比如有一种思想的崇高，它有时在演说里体现为表达的极度单纯性，在这种表达里言说者的高贵特征让人期待更多的庄重，而有时思想的崇高在演说中甚至表现为纯粹而简单的沉默。我确实希望大家把沉默还是看作一个修辞格。大家就会和我一样认为:这个修辞格是所有修辞格中最不确定的。在布瓦洛的翻译里，当修辞学家宣称为了达到崇高的效果“没有比完全隐藏的修辞格更加好的修辞格了，而且当人们根本认不出这是一个修辞格时”，从修辞学（而且也是从诗学）的角度来看，一直持留的是什么呢？或者是否存在一些隐藏修辞格的方法呢？是否存在抹掉修辞格的修辞格呢？如何区分隐藏的修辞格和毫无修辞的修辞格呢？而什么又是毫无修辞的修辞格呢?以下这点似乎就是从教学功能中提取的主要结论:当演说是崇高的时候，它会包容缺点，趣味和形式不完美的错误。比如，柏拉图的风格充满着自负、浮夸和勉强的对比，简而言之，柏拉图就是相对于吕西亚斯而言的矫揉造作风格或者巴洛克风格，或者相对于伊昂而言的索福克勒斯，或者相对于巴库利德斯而言的品达，而事实上是，前面指出的第一批人是崇高，而第二批人只是完美。所以，技艺上的薄弱是可宽恕的，如果这种薄弱是“真正伟大”的代价。\n\n134\n\n96\n\n/非人：漫谈时间","previous_page":133,"next_page":135}