The Order of Things 事物的次序 mobi 下载 网盘 caj lrf pdf txt 阿里云

When one defines order as a sorting of priorities, it becomes beautifully clear as to what Foucault is doing here. With virtuoso showmanship, he weaves an intensely complex history of thought. He dips into li***ture, art, economics and even biology in The Order of Things, possibly one of the most significant, yet most overlooked, works of the twentieth century. Eclipsed by his late***ork on power and discourse, nonetheless it was The Order of Things that established Foucault's reputation as an intellectual giant. Pirouetting around the outer edge of language, Foucault unsettles the surface of li***ry writing. In describing the limitati*** of our usual taxonomies, he opens the door onto a w*** new system of thought, one ripe with what he calls exotic charm. Intellectual pyrotechnics from the master of critical thinking, this book is crucial reading for those who wish to gain insight into that odd beast called Postmodernism, and a must for any fan of Foucault.

PUBLISHER'S NOTE

FOREWORD TO THE ENGLISH EDITION

PREFACE

PART I

　1　Las Meninas

　2 The Prose of the World

　　I The Four Similitudes

　　II Signatures

　　III The Limits of the World

　　IV The Writing of Things

　　V The Being of Language

　3 Representing

　　I Don Quixote

　　II Order

　　III The Representation of the Sign

　　IV Duplicated Representation

　　V The Imagination of Resemblance

　　VI Mathesis and 'Taxinomia'

　4 Speaking

　　I Criticism and Commentary

　　II General Grammar

　　III The Theory of the Verb

　　IV Articulation　

　　V Designation

　　VI Derivation

　　VII The Quadrila***l of Language

　 5　Classifying

　　I What the Historians Say

　　II Natural History

　　III Structure

　　IV Character

　　V Continuity and Catastrophe

　　VI M***ters and Fossils

　　VII The Discourse of Nature

　6　Exchanging

　　I The Analysis of Wealth

　　II Money and Prices

　　III Mercantilism

　　IV The Pledge and the Price

　　V The Creation of Value

　　Vl Utility

　　VII General Table

　　VIII Desire and Representation

PART II

　7　The Limits of Representation

　　I The Age of History

　　II The Measure of Labour

　　III The Organic Structure of Beings

　　IV Word Inflection

　　V Ideology and Criticism

　　VI ObJective Syntheses

　8　Labour, Life, Language

　9　Man and His Doubles

　10　The Human Sciences

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It is no longer a question, in fact, of repeating what had already been said（言下之意，中世纪和文艺复兴时期的释经学是以对已经被言说的事物的“评论”或“重复”）, but of defining through what figures and images, by following what order, to what expressive ends, and in order to declare what truth, God or the Prophets had given a discourse the particular form in which it was communicated to us.

criticism judges it (representation and truth) and profanes it. Now as language in the irruption of its being, and questioning it as to its secret, commentary halts before the precipice of the original text, and assumes the impossible and endless task of repeating its own birth within itself: it sacralises language.

人，就其本性而言，总是倾向于最逼近和最迫切的结果。他首先考虑他的需要，接着考虑他的快乐。他在考虑这些之前，总是忙于农业、医学、战争、实际政治学，接着忙于诗歌和艺术；并且当他转会到自身并开始反思时，他就为自己的判断规定规则，这就是逻辑学，为他的话语规定规则，这就是语法，为他的***规定规则，这就是伦理学。他那时认为自己已经达到了理论的顶峰。

福柯欣赏尼采的“谱系学”或“真实的历史”。因为它能区分、分离和分散事物，能释放岐异性和边缘因素，能让间断性在主体身上穿行和涌现，它所依据的是充满着机缘的力量关系的逆转和权力的侵占，所强调的是界限、断裂、个体化、起伏、变化、转换、差距，所突现的是无先验主体的、分散的、散乱的、非中心的、充满着偶然性的多样化空间。哈贝马斯曾形象的解读福柯所发掘的“真实的历史”：它是一座由任意的话语形式构成的移动着的冰山，这些话语形式前后涌动、上下起伏、不停地变化和重组，而无连续性。

lastly , the purpose of arousing in the other the representation corresponding to the cry or gesture (but with this particularity, that by emitting a cry, I do not arouse, and do not intend to arouse, the sensation of hunger, but the representation of the relation between this sign and my own desire to eat). Language is possible only upon the basis of this entanglement. It rests not upon a natural movement of comprehension or expression, but upon the reversible and ***ysable relati*** of signs and representati***. Language does not come into being when representation is exteriorised, but only when, in a concerted fashion, it detaches a sign from itself and cause itself to be represented by that sign.

《堂吉诃德》是第一部现代文学作品，因为我们在它里面看到了同一性与差异性的严酷理性不停地轻视符号和相似性；因为在它里面，语言中断了自己先前与物的关系，从而进入了这个孤独的主权中，语言还会只作为文学突然重新出现在这个主权内：因为相似性进入了一个时代，从相似性的观点来看，这是一个非理性和想象的时代。一旦相似性与符号相互分离，两种经验就能确立起来了，两个人物也可以面对面出现了，疯人（不是被理解为病人，而是被理解为被确立的和被保持的异常，一个不可缺少的文化功能）已在西方经验中成了具有原始相似性的人。如同在巴洛克时代的小说或剧本中所描绘的，如同其在19世纪精神病学以前被逐渐制度化的，疯人在类推中被异化了，他是同与异的错乱的游戏者。他把事物当成它们所不是的东西，把一个人当成另一个人；他不理睬朋友，只认识陌生人；他认为，当自己戴着面具时是摘掉面具了。他颠倒了所有的价值和所有的比例，因为他认为自己在任何时候都是在辨读符号：因为对他来说，所有符号都是彼此相似的，所有相似性都具有符号的价值。在文化空间的另一端（但是因对称而非常靠近）则是诗人，他在被命名和经常被期望的差异性下面，重新发现了物与物之间隐藏着的关系、它们的分散了的相似性，在所确立的符号下面，并且撇开这些符号，他听到了另一个更加深刻的话语，这种话语唤起了这样一个时刻，那时词在物的普遍相似性中闪烁：同之主权是如此难以陈述，以至于在它的语言中抹去了符号之间的区别。

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Possibly one of the most significant, yet most overlooked, works of the twentieth century, it was The Order of Things that established Foucault's reputation as an intellectual giant.