作为一个伟大的哲学家,康德从来不缺少批判者,但众多批判者中最危险的也许是德里达。解构主义的根本目标乃是颠覆以真理或本质等逻各斯为核心的形而上学。康德之所以成为德里达的批判目标,就是因为他的美学一丝不苟地服从了形而上学预设的内外区分,比如形式与实存、情感与感觉、表象与目的、配饰与作品等等。为了证明审美的自律性,康德使用了几个毫不起眼的例证与脚注。然而在德里达出人意料的剖析下,这些处于康德文本之边沿和末梢的例证与脚注最终竟颠覆了康德的美学大厦。正如德里达指出的那样,边框或配饰、纯粹切割之无以及崇高的无限,它们一直在秘密地解构着康德看似完整的美学。 Kant, as a great philosopher, never lacked critics, but perhaps the most dangerous of the many critics was Derrida. The fundamental goal of deconstruction is to subvert the metaphysics centered on logos such as truth or essence. Kant became the critical target of Derrida because his aesthetics meticulously obeyed metaphysical presuppositions of internal and external distinction such as form and reality, emotion and feeling, appearance and purpose, accessories and works, and so on. In order to prove the aesthetic self-discipline, Kant used a few humble examples and footnotes. However, with Derrida’s unexpected analysis, these illustrations and footnotes at the edge and periphery of the Kantian text eventually subverted Kant’s aesthetic building. As Derrida points out, the borders or accessories, purely cut and sublime, have been the deconstruction of Kant’s seemingly complete aesthetics.