{"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":137,"pdf_page":157,"physical_index":157,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e23731563fa62eb8142888166442f1ea37fb2aedcdd8e0b49547c7a12dbf839a"},"chapter":"非人：漫谈时间","content":"请大家原谅我把伴随崇高观念的现代发展而发生的转变简化到如此程度。大家会发现在现代以前在中世纪的美学里比如在圣维克多僧侣们(Victorins)的美学里——就有了转变的痕迹。无论如何，这种转变说明：对艺术的反思在本质上不再针对作品（人们将之交付给了天才的孤独）的发送者，而是针对它们的接收者。从此，应当做的事情就是：分析影响接收者的方法，他接受和感觉作品的方法，他判断作品的方式。正是如此，美学，以及对艺术爱好者感觉的分析，就取代了用于培养艺术家的教学法的诗学和修辞学。问题不再是如何做艺术？而是艺术带来的体验是什么？而在分析后面这个问题时，非确定性又回来了。\n\n崇高与先锋派\n\n137\n\n1 可参见狄德罗在《论绘画》(Surlapeinture)里关于绘画技术的观点。——译者注","previous_page":136,"next_page":138}