{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"ed4482f9-2315-47ea-9750-97bb05c9236b","title":"感官技术：控制论生物体的调解","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"ed4482f9-2315-47ea-9750-97bb05c9236b","id":"ed4482f9-2315-47ea-9750-97bb05c9236b","uuid":"ed4482f9-2315-47ea-9750-97bb05c9236b","title":"感官技术：控制论生物体的调解","normalized_title":"感官技术控制论生物体的调解","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","isbns":["0415970164","0415970156","9780415970167","9780415970150"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":342,"navigation_url":"https://workshop.closeclaw.top/ai/book/ed4482f9-2315-47ea-9750-97bb05c9236b","title_url":"https://workshop.closeclaw.top/ai/title/%E6%84%9F%E5%AE%98%E6%8A%80%E6%9C%AF%EF%BC%9A%E6%8E%A7%E5%88%B6%E8%AE%BA%E7%94%9F%E7%89%A9%E4%BD%93%E7%9A%84%E8%B0%83%E8%A7%A3","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/ed4482f9-2315-47ea-9750-97bb05c9236b/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/ed4482f9-2315-47ea-9750-97bb05c9236b/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/ed4482f9-2315-47ea-9750-97bb05c9236b","page_url":"https://workshop.closeclaw.top/api/ai/books/ed4482f9-2315-47ea-9750-97bb05c9236b/page","search_url":"https://workshop.closeclaw.top/api/ai/books/ed4482f9-2315-47ea-9750-97bb05c9236b/search"},"page":{"printed_page":233,"pdf_page":245,"physical_index":245,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"6523052ff6a0736dfe0432e6879667436d7e62f5644f0c77e763faf005bd7d90"},"chapter":"hodiPs ICOOP-","content":"在进一步探索这一特权之前，让我们停下来评估一下房子的这种煽动情节的功能一一特别是它将叙事的结构和功能与小说中主题化的正字法任务联系起来的方式一—对小说的其他一般元素的影响。实际上，通过将Zampanò的叙事置于与记录媒体的竞争中，《树叶之屋》将传统的人物塑造置于为媒体服务的寓言功能之下。(总的来说，我在这里的论点建立在海尔斯对《树叶之屋》中人物塑造的观察之上。)\n\n以纳维森的形象为例。从字面上看，纳维森是正字法欲望的密码:传统上说，所有有助于全面描述的方面一一心理学、过去的经验、个人特质等等一一在他的例子中只是这个主要功能的子功能，实际上是真正的副现象。这就是为什么纳维森的性格为我们刚刚观察到的正字法失败和正字法欲望之间的矛盾关系提供了象征:\n\n也许纳维森如此迷恋摄影的一个原因是，摄影让转瞬即逝的瞬间变得永恒。然而，即使是一万张照片也无法保证一个世界的安全，因此，尽管纳维森可能更加努力地工作，冒着更大的风险，变得越来越成功，但他最终还是被误导了，以为自己的劳动可以弥补他小时候被剥夺的爱，以及这种爱所赋予的终极安全感。不只是拍几张照片，用几台Hi-8记录日常事件，纳维森想用图像来建立一个对抗世界瞬息万变的前哨。也难怪他\n\nT h e D i g i ta l T o p o g r a p h y o f H o u s e o f L e av e s\n\n233","previous_page":232,"next_page":234}