{"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":33,"pdf_page":52,"physical_index":52,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"3cd5c03b6f5d6a1133e91ea22e628491c0167845e51dd3a2fc314f774ce4503f"},"chapter":"差异与重复","content":"既有悲剧的重复，也有喜剧的重复。重复甚至始终要出现两次：一次出现在悲剧的命运中，另一次出现在喜剧的特征中。在戏剧表演中，主人公正是因为其与无限的本质知识相分离才会去重复。这种知识不但存在于他的内部，并且还在他的内部延续着，活动着。不过，它只能作为隐藏的东西，作为被阻断的表象而发挥作用。喜剧性重复与悲剧性重复的差别体现在以下两个方面：一方面是被压抑的知识的本性，要么是直接的自然知识，亦即常识的单纯所与，要么是可怕的隐秘知识；另一方面是戏剧中的登场人物被排除出这种知识之外的方式，亦即“他不知道他所知道的东西”的方式。一般说来，实践的问题就在于：这种未知的知识应当被表象为浸满整个舞台的东西，表象为浸润着剧本的所有元素的东西，表象为在自身中包含着自然与精神的所有强力的东西；但与此同时，主人公却不能向自己表象这种知识，他反而应当将这种知识付诸行动——他应当扮演、重复这种知识，直至被亚里士多德(Aristote)称为“认出”的那个尖锐时刻。①重复与表象在这个时刻相互交织、相互对峙，但这并不意味着它们的两个层面混淆在了一起，而是一个层面被映射在另一个层面之中，并且被这另一个层面所维持。这样一来，这种知识与“在舞台上上演，被演员所表演的知识”被认定为是同一种知识。\n\n导论：重复与差异\n\n33\n\n①【译按】参克尔凯郭尔，《畏惧与颤栗》，前揭，页85—94。","previous_page":32,"next_page":34}