{"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":139,"pdf_page":159,"physical_index":159,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"9665d2e2252005a430483a6c8c696a184e298e9ca7662d46a94b85bc1b8a4488"},"chapter":"非人：漫谈时间","content":"一种混合着痛苦的愉悦，一种从痛苦中产生的愉悦。在面对一个巨型对象(沙漠、一座山、一座金字塔)，或者一个非常强大的对象（海上风暴、火山喷发）时，绝对概念(l'idéed'unabsolu)被唤醒。绝对概念只能被思考而且必须处于没有感性直觉的情况里，如同理性的理念(Idée de la raison)。呈现力和想象力都不能为这个理念提供适当的再现。这种表达上的失败引起痛苦，在主体身上产生一种他所能接收的东西与他所能想象的东西之间的分裂。不过，这种痛苦反过来又生出一种愉悦，而且是一种双重愉悦：想象力的无能为力反而证明一—它力求让人看见看不见的东西，这样它的目的就是让其对象与理性的对象协调一致；而另一方面，图像的不足是理念巨大能力的否定性迹象。它们之间能力的失调产生了构成崇高不同于美之平静感的情感特点的极度张力（他说是激荡「agitation]）。在决裂的边缘上，理念的无限或者绝对可以在康德所谓的否定性呈现（présentation négative)，或者甚至非-呈现（non-présentation)上被看到。他援引禁止图像的犹太法则作为否定性呈现的突出例子：几乎被简化至零的视觉愉悦引发对无限的无限思考。甚至在浪漫主义艺术从古典和巴洛克的形象中脱胎之前，大门就已经向抽象艺术和极简艺术的方向的探寻敞开了。如此，先锋主义在康德的崇高美学里就萌芽了。不过，康德的崇高美学所分析的艺术效果里的艺术显然主要在于再现崇高主题。而时间的问题,发生(Arrive-t-il?)的问题在这方面并不是一至少在清楚明白的意义上一康德问题的构成部分。\n\n崇高与先锋派\n\n139","previous_page":138,"next_page":140}