{"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":157,"pdf_page":177,"physical_index":177,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"82d6831b8d86f4ef3937169c13e34ed1b9c0a911f12717b9137182b2889aa297"},"chapter":"非人：漫谈时间","content":"在康德那里已经有两种 esthétique，esthétique一词有两种意思。在第一种esthétique（《纯粹理性批判》）里所提出的问题仅限于对感性事物的设立（对感性事物的“综合”），借助于设立，感性事物才能被概念认识。概念如何在现实中找到应用呢?需要在感性事物里已经有——如同它被给予我们的那样——一些基本综合和感觉统一体，后两者为感性事物在概念上获得可理解性做了准备。在感性事物上被给予的东西与概念将用它去做的事情之间有一种相似性。比如在声音的时间序列里有数字序列应用所容许的东西。这第一种综合，康德称之为图式(schéma)，而且它在感性事物里准备了概念的应用。我们可以认识感性事物，因为感性事物与理智事物(intelligence)有相似性。而在第三批判里，esthétique设立的是形式问题。在那里目标不在于理解科学是如何可能的，而在于理解给予发生的这里和现在如何产生这样的一种感觉，即就像它只是对在空间和时间里自由漂浮的形式进行情感上的转录。康德把这种感觉归于对形式的记录，而形式又归于生产性想象。发生在感性事物里的综合在这里不再被康德看作为科学做准备，而是使这样一种感觉成为可能，即这种感觉本身是对一切认识的准备。正是通过这种方式，这些形式被对之发生兴趣的主体所接受，康德把这些形式称作签名风格(monogrammes)。\n\n某事诸如：“无交流的交流\n\n157","previous_page":156,"next_page":158}