作為解讀文本的普遍方法學以及「理解」活動之普遍理論，從嘉達瑪(Gadamer)至德里達(Derrida)的詮釋學皆以「翻譯」為模型，將視域融合的詮釋學經驗等同於一種翻譯過程。吾人提出另一種以「轉換」為模型之詮釋學：不再是從一個語言系統轉移至另一個語言系統，而是從一個場域轉移至另一個場域、從一個平面轉移至另一個平面，就像是自由女神像從巴黎轉移至紐約。不只是一種地點的移動，而更是一種移植、轉型、變形，此一轉換乃是一真正的詮釋學事件，它使得不同區域、不同傳統、不同時代的一切經驗轉移成為可能。「現代性」作為一種全球化的經驗轉移，就是這樣一種詮釋學事件之典範。德里達將「翻譯」置於解構(La mise-en-déconstruction)，似乎混淆了「翻譯」與「轉換」這兩個模型。吾人將引用德勒茲的哲學來深化此一「轉換的詮釋學」，將「轉換」視為一個《差異與重複》之悖論，有如永恆的移置及裝扮。

As a general methodology about reading of text and a universal theory of the understanding, the hermeneutics, from Gadamer to Derrida, takes the translation as model, that is, equalizes the hermeneutic experience of the fusion of horizons and a process of translation. We propose an other model: the transformation, that is not a transfer from a language system to another language system, but a transfer from a place to another place, from a plane to another plane, like the statue of Freedom was transferred from Paris to New York. Not only a displacement local, but more like a transplantation, a transfiguration, a metamorphose, this transformation is really a hermeneutic event that renders possible all the transferences of experiences between different regions, different traditions, different ages. The modernity as a global transference of experiences is a hermeneutic event by excellence. The translation being put into deconstruction by Derrida seems to confuse the translation with the transformation. We will appropriate the philosophy of Deleuze for making profound this hermeneutics of transformation and for thinking the transformation as a paradox of «Difference and Repetition» like a perpetual displacement and disguisement.