{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"f37142a0-40fb-4cc4-a610-9ea25997b974","title":"资本主义概念、理念、图像论当代马克思《资本论》的若干面向","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"f37142a0-40fb-4cc4-a610-9ea25997b974","id":"f37142a0-40fb-4cc4-a610-9ea25997b974","uuid":"f37142a0-40fb-4cc4-a610-9ea25997b974","title":"资本主义概念、理念、图像论当代马克思《资本论》的若干面向","normalized_title":"资本主义概念理念图像论当代马克思资本论的若干面向","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":271,"navigation_url":"https://workshop.closeclaw.top/ai/book/f37142a0-40fb-4cc4-a610-9ea25997b974","title_url":"https://workshop.closeclaw.top/ai/title/%E8%B5%84%E6%9C%AC%E4%B8%BB%E4%B9%89%E6%A6%82%E5%BF%B5%E3%80%81%E7%90%86%E5%BF%B5%E3%80%81%E5%9B%BE%E5%83%8F%E8%AE%BA%E5%BD%93%E4%BB%A3%E9%A9%AC%E5%85%8B%E6%80%9D%E3%80%8A%E8%B5%84%E6%9C%AC%E8%AE%BA%E3%80%8B%E7%9A%84%E8%8B%A5%E5%B9%B2%E9%9D%A2%E5%90%91","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/f37142a0-40fb-4cc4-a610-9ea25997b974/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/f37142a0-40fb-4cc4-a610-9ea25997b974/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/f37142a0-40fb-4cc4-a610-9ea25997b974","page_url":"https://workshop.closeclaw.top/api/ai/books/f37142a0-40fb-4cc4-a610-9ea25997b974/page","search_url":"https://workshop.closeclaw.top/api/ai/books/f37142a0-40fb-4cc4-a610-9ea25997b974/search"},"page":{"printed_page":214,"pdf_page":219,"physical_index":219,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"d0fc7fcdb7d81f5c01e3af15322f9d2eace7a86caa1096b2bdcc92577cf47313"},"chapter":"资本主义：概念、理念、图像论当代马克思《资本论》的若干面向","content":"资本主义：概念、理念、图像\n\n的主要生命政治场域，以及怀特试图为之挽救的未来之中，打开了一个黑洞。《绝命毒师》因此描绘了一条走向坏的“逃逸线”（<sup>1</sup> line of flight），这也是吉尔·德勒兹（Gilles Deleuze）与菲利克斯·加塔利（Félix Guattari）在《千高原》（A Thousand Plateaus, 1980）中反复出现的主题，这令他们在政治上倍感绝望，即“战争机器”（war machines）要么被国家形态俘获，要么完全脱离一切主体性与政治锚定。沃尔特·怀特的自由追求，正如他们所言，冒着“放弃自身创造性潜能，堕入死亡之线，或被彻底\n\n<sup>1</sup> 《绝命毒师》唤起了诗人沃尔特·惠特曼（Walt Whitman）的形象，他是《草叶集》（Leaves of Grass, 1855）的作者，这部作品塑造了美国作为一个民族的形象。而正是通过惠特曼及其作品，沃尔特·怀特的犯罪身份最终被他的警察姐夫汉克发现，从而凸显了家庭及其象征秩序在该剧中的戏剧性重要性。由此，家庭、国家与政府都通过法律及其越界行为被呈现出来。\n\n214","previous_page":213,"next_page":null}