本研究欲詮釋及闡述J. Derrida 之解構思想及其所蘊含之審美教育學的意義。由於藝術鑑 賞教育為思考與實踐審美教育學的重要途徑，本研究以藝術鑑賞教育之政策論述為例，說明 解構取向的審美教育學之啟示。現行藝術鑑賞教育存在的問題反映出傳統審美教育學的限 制，包括下述五點：一、藝術鑑賞教育尚過度依賴於西方的美學詮釋體系；二、多數藝術鑑 賞教育活動之實施仍以精緻藝術為主；三、藝術鑑賞教育內容缺乏培養學生批判思考的能力； 四、忽略不同文化背景學生藝術鑑賞能力之個別差異；五、藝術教育蘊含強烈工具化傾向。 透過對Derrida 解構思想之探討，揭示出傳統審美教育學預設了內在理路－邏各思（logos）， 基於前述，本研究提出四點解構概念對於審美教育學之啟示，可作為思考審美教育學及其在 藝術鑑賞教育的參照：一、顛覆精緻藝術較為優位之教育主張；二、瓦解精緻藝術和通俗藝 術之間的藩籬；三、化解藝術作品中作者主體中心的霸權迷思；四、建構開放的藝術對話空 間以展現他者的多元性。

This article aims to interpret and expound on Derrida’s notion of deconstruction and reveal the implications for aesthetic education. Art appreciation education plays a crucial role in thinking and practicing aesthetic education. Hence, this paper focuses on art appreciation education and explores the implications of the deconstructive approach for aesthetic education. This paper also discusses the limits of conventional aesthetic education by identifying the problems of the current practice of art appreciation education. Five problems are identified: (1) aesthetic education still relies heavily on the Western aesthetic traditions; (2) most materials for art appreciation activities are based on fine art; (3) the content of aesthetic education instruction does not include critical thinking; (4) the individual differences based on different cultural backgrounds are neglected during teaching; (5) the strong instrumentalism tendency is implied in current art education. Exploring Derrida’s concept of deconstruction is helpful for suggesting improvements to aesthetic education by revealing the logos implied in conventional art appreciation education. This paper concludes with the following four suggestions: (1) the traditional premise that fine art is superior to popular art is questioned; (2) the conventional line between fine art and popular art is blurred; (3) the hegemonic myth of author subject-centric artwork is challenged; (4) the artistic dialogue space should be diverse and available to everyone.