{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"de9b4263-c277-4979-9f00-91fe8d8660f7","title":"差异与重复","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787567591363","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"de9b4263-c277-4979-9f00-91fe8d8660f7","id":"de9b4263-c277-4979-9f00-91fe8d8660f7","uuid":"de9b4263-c277-4979-9f00-91fe8d8660f7","title":"差异与重复","normalized_title":"差异与重复","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787567591363","isbns":["9787567591363"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":538,"navigation_url":"https://workshop.closeclaw.top/ai/book/de9b4263-c277-4979-9f00-91fe8d8660f7","title_url":"https://workshop.closeclaw.top/ai/title/%E5%B7%AE%E5%BC%82%E4%B8%8E%E9%87%8D%E5%A4%8D","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/de9b4263-c277-4979-9f00-91fe8d8660f7/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/de9b4263-c277-4979-9f00-91fe8d8660f7/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/de9b4263-c277-4979-9f00-91fe8d8660f7","page_url":"https://workshop.closeclaw.top/api/ai/books/de9b4263-c277-4979-9f00-91fe8d8660f7/page","search_url":"https://workshop.closeclaw.top/api/ai/books/de9b4263-c277-4979-9f00-91fe8d8660f7/search"},"page":{"printed_page":127,"pdf_page":146,"physical_index":146,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"03420e05c48833f00933ab01a872a307f9024bce4683bd005cb8bb78475efb6d"},"chapter":"第一章 自在之差异","content":"第一章 自在之差异\n\n127\n\n① 艾柯(Umberto Eco)在《开放的作品》(L'œuvre ouverte，trad. Roux，Le Seuil,1965)中清楚表明：“古典”艺术作品是在多重视角下被观看的，而且它可以接受多重解释，不过，对于每一种观点或解释来说，还没有一件包含在伟大作品的混沌之中的自立的作品与其对应。而“现代”艺术作品则是以中心或聚合的缺席为特征的(参第一章，I和IV[【译按】中译参艾柯，《开放的作品》，刘儒庭译，北京：中信出版社,2015])。","previous_page":126,"next_page":128}