{"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":35,"pdf_page":55,"physical_index":55,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"f5ca29ee99dfaead4b815797ceab75ba3429c78724bdd26c09b8a4c084280f4f"},"chapter":"什么是批判","content":"现代主义的文学(尤其是受浪漫主义影响的抒情诗)为研究这两种基本的世界关系形式之间的联系和差异提供了大量素材，我们甚至可以怀疑，现代文学的主题就是世界经验在主动与被动之间的摇摆。一边是尼采式的冬日漫游者，感到自己是被诅咒的，世界对他而言是“通往无垠的荒寒废墟的门”①；另一边是艾兴多夫式的冬日漫游者，他在同样沉默、寒冷、孤独的冬日景象中经验到了有所回应的世界关系，从“雪的寂寥中”突然有“悠扬的吟唱”升起。②世界关系就在这两个形象中徘徊。浪漫派也同样寻找着能使漠然的世界“歌唱”起来的“魔杖”。③\n\n时间关系批判\n\n35","previous_page":34,"next_page":36}