{"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":368,"pdf_page":387,"physical_index":387,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"2375adc916c664e61f2f4d117659698b79a80b418c33c99a433d0f0dc228d01b"},"chapter":"第四章 差异的理念综合","content":"这些时空动力规定难道不已经是康德所说的图型(schèmes)了吗？不过，这二者之间存在着巨大差异。图型的确是时间之规定与空间之建构的规则，但它是相对于作为逻辑可能性的概念被思考和应用的；即使在它将逻辑可能性转变为先验可能性时，这种参照仍然处于它的本性中。它在时空关系与概念的逻辑关系间建立起了一种对应关系。尽管如此，人们不知道外在于概念的它如何能够保证知性与感性的和谐，因为除非乞灵于奇迹，否则它无法保证自身与知性概念的和谐。图型论拥有巨大的力量：正是因为它，一个概念才能够根据一种类型学被划分、被特殊化。概念本身完全没有能力自我特殊化和自我划分；正是那些时空动力，在图型下作为一种隐蔽的技艺、一个施行分化者发挥着作用。没有它们的话，人们就要始终停留在亚里士多德为反对柏拉图式划分而提出的问题那里：两个一半从而何来？不过，图型无法说明这种伴随着它发挥作用的强力。当人们不再把动力设定为概念的图型，而是把它设定为理念的戏剧时，情况便完全不同了。因为即便动力外在于概念(如此一来它便是图型)，它仍内在于理念(如此一来它便是戏剧或梦)。[282]种被划分为不同的系统(lignées)，“林奈种”被划分为“约尔丹种”，概念被划分为各种类型，但这些划分所拥有的标准与被划分者所拥有的标准并不相同，它们与被划分者并不同质。在外在于概念且内在于支配着划分的理念的领域中，划分被确立起来。动力因而包含着专属于它的规定时空的强力，因为它直接体现了微分比差异关系、奇异性和内在于理念的渐进性。①“最短的”并不只是“直线”概念的图型，它还是线的理念的梦、戏剧或戏剧化，因为它表现了直线和曲线的分化。我们区分了理念、概念和戏剧：戏剧的作用在于通过体现微分比[差异关系与理念之奇异性来使概念特殊化。\n\n368\n\n差异与重复","previous_page":367,"next_page":369}