想像力的中介作用乃是康德批判哲學的一個重要課題，本文嘗試從批判與想像的軸線檢討此種中介作用與書寫之間的關係。由於批判所定下的界限，使得主體機能的越界與斷裂成為迫切的體系內部問題，而想像也在此顯現其聯繫感性、知性、理性機能之間的特殊角色。想像力的中介也意味著主體的形構作用，此種中介引入了特殊的書寫策略；理性的印記隨著主體的認識判斷或反省判斷而有別，故而，想像力的書寫總是帶著理性現身的銘刻，而有著抽離（優美）或犧牲（崇高判斷）的異樣形式。最終，這是理性自身的書寫，具體呈現為人格，並形成理性生命的教化；但是，對於藝術來說，此種生命乃是藝術的反諷，見證了理性的簽署，也使得作品與主體的意義超越了單純的同一性，而開啟了無限的意義空間。

Granting the mediation of imagination as an important Kantian theme, this paper tries to describe the relation between mediation and writing by way critique and imagination. Constrained by the limitation thrown by critique, the rupture of subjective faculties becomes an urgent systematic problem, while the imagination plays a role in mediating sensibility, understanding and reason. But this mediation of imagination also means the formation of subject, which introduces a particular strategy of writing. The marks of reason are different following the epistemic judgment or reflective judgment, thus the writing of imagination inscribes the trace of reason, and forms different types in detachment (beauty) or sacrifice (sublime). This writing of the reason concretizes itself in moral personality, and forms the culture of rational life. For art, this life is an irony, which attests the signature of reason; therefore, the meaning of work and of subject transcends the simple identity, an infinite space of meaning is thus opened.