Abstract One of the problems in phenomenological approaches to art, is to understand the link between the ontologies of art media and questions of value. Unfortunately, recent discussions of art’s broader cultural context have not helped in this task. There has been a widespread assumption that the historical circumstances of art’s cultural production, its constituencies of reception, and contexts of transmission and the like, render artistic value relative to the time and place of its production. My purpose in this critical discussion, is to move beyond the restrictions and contradictions of such relativism. I shall argue that art engages with factors that are of universal rather than relative import, and that questions of value are connected to this. In doing so, I will hope, in other words, to subvert the relativist orthodoxy by clarifying art’s reality as art. I shall do so as perversely as possible by, in Part One, criticizing and developing one of the great inspirations for relativism, namely Derrida’s notion of différance. In Part Two, I shall use components of that concept, namely difference and iterability to indicate the basis of art’s reality qua art, the justification of canonic work, and, in the course of this, art’s legitimate claim to high-cultural status.

中文翻译：

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德里达的错误和规范艺术的可能性

摘要艺术现象学方法的问题之一是要理解艺术媒体本体论与价值问题之间的联系。不幸的是，最近关于艺术更广泛的文化背景的讨论并没有帮助完成这项任务。人们普遍认为，艺术文化生产的历史情况，艺术的接受对象，传播的背景等等，都相对于艺术的生产时间和地点赋予了艺术价值。在此批判性讨论中，我的目的是超越这种相对主义的限制和矛盾。我将争辩说，艺术与普遍而不是相对重要的因素有关，而价值问题与此相关。这样做，我希望，通过阐明艺术作为艺术的现实来颠覆相对主义的正统观念。在第一部分中，我将通过批评和发展相对主义的一大灵感，即德里达的差异概念，来尽可能地反常。在第二部分中，我将使用该概念的组成部分，即差异和可迭代性，来表示艺术的现实基础，艺术工作的正当性，并在此过程中艺术对高文化地位的合理主张。