雖然最近看到列維納斯(Emmanuel Levinas)的〈Reality and Its Shadow〉(現實及其陰影，Collected Philosophical Papers of Emmanuel Levinas, translated by Alphonso Lingis, Dordrecht, Netherlands: M. Nijhoff, 1978)
Criticism as a distinct function of literary life, expert and professional criticism, appearing as an item in newspapers and journals and in books, can indeed seem suspect and pointless. But it has its source in the mind of the listener, spectator or reader; criticism exists as a public's mode of comportment. Not content with being absorbed in aesthetic enjoyment, the public feels an irresistable need to speak. The fact that there might be something for the public to say, when the artist refuses to say about artwork anything in addition to the work itself, the fact that one cannot contemplate in silence, justifies the critic. He can be defined as the one that still has something to say when everything has been said, that can say about the work something else than that work.
One then has the right to ask if the artist really knows and speaks. He does in a preface or a manifesto, certainly; but then he is himself a part of the public. If art originally were neither language nor knowledge, if it were therefore situated outside of "being in the world" which is coextensive with truth,' criticism would be rehabilitated. It would represent the intervention of the understanding necessary for integrating the inhumanity and inversion of art into human life and into the mind.
─Emmanuel Levinas, Reality and Its Shadow, Collected Philosophical Papers of Emmanuel Levinas, translated by Alphonso Lingis, Dordrecht, Netherlands: M. Nijhoff, 1978, pp1-2