{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"dfe67541-4039-4f88-87ce-dbbadb056cb2","title":"什么是批判","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787303287741","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"dfe67541-4039-4f88-87ce-dbbadb056cb2","id":"dfe67541-4039-4f88-87ce-dbbadb056cb2","uuid":"dfe67541-4039-4f88-87ce-dbbadb056cb2","title":"什么是批判","normalized_title":"什么是批判","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787303287741","isbns":["9787303287741","0120214113"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":490,"navigation_url":"https://workshop.closeclaw.top/ai/book/dfe67541-4039-4f88-87ce-dbbadb056cb2","title_url":"https://workshop.closeclaw.top/ai/title/%E4%BB%80%E4%B9%88%E6%98%AF%E6%89%B9%E5%88%A4","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/dfe67541-4039-4f88-87ce-dbbadb056cb2/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/dfe67541-4039-4f88-87ce-dbbadb056cb2/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/dfe67541-4039-4f88-87ce-dbbadb056cb2","page_url":"https://workshop.closeclaw.top/api/ai/books/dfe67541-4039-4f88-87ce-dbbadb056cb2/page","search_url":"https://workshop.closeclaw.top/api/ai/books/dfe67541-4039-4f88-87ce-dbbadb056cb2/search"},"page":{"printed_page":258,"pdf_page":278,"physical_index":278,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"d138a882f0f84f9fd4a259756c075ab4786311922bcfc1574ff43eb5b4eee3d4"},"chapter":"什么是批判","content":"七、批判作为审美的展示活动\n\n艺术作品的自主性—能够摆脱政治的、神学的或审美的自然(Natur)的意图而自由展示现实，构成了批判的审美盈余的基础。为了用艺术的例子来实现对展示和批判的相互把握，我们已经通过此前在文学中采取的关于简单化的例子，而创造了一种根基性的起点。堂吉诃德这一小说形象在其叙述方面也是富有启发的，它对于对话内容的取消确保了形象具有持续的展开力量。关于这种不想如其所是地看待现实而造成的滑稽，小说既没有用一种教导的方式，也没有简单地报道，而是以一种故事的形式来讲述。在科恩(Korn)看来，堂吉诃德的简单化完全不具备能让主人公区分善与恶的道德情感。通过叙述性描述(narrativerDeskription)的抑制，堂吉诃德的假象和简易化在读者的眼光中成为真实可能的(möglicheeigene)。从相关者的视角看来，被强化的信念在观察者自身那里就已经被质疑了。这种自身关联是作为艺术作品的盈余而发挥作用的，这种盈余并没有被消解在一种接受的目标或者一种认识意图中。观察者并非出于对抗假象的动机，而被共同带入一种持续的追问活动中，他似乎也并未意愿或追求这一点。但是小说在这方面的成功并不是基于任何一种自身所承载的批判诉求，而是因为批判被转译回了叙述。①\n\n258\n\n什么是批判","previous_page":257,"next_page":259}