I view Nietzsche's The Birth of Tragedy as a radical realization of the subjective formality that Kant describes in The Critique of Judgment . I will consider the manner in Nietzsche takes the Third Critique's attenuation of the distinction between subject and object, form and content, to theorize aesthetic states that, as in Attic tragedy, articulate the excesses of desire, suffering, violence and sublimities too extreme to be Kantian. Thus the Nietzscean aesthetic celebrates the attainment of styles that violate both Kant's morality and his concept of the object and, hence, the limitations and possibilities of practical and pure reason. On the other hand, in his "Parergon," Derrida's account of différance appears to be an attempt to theorize this Kantian aesthetic within the limitations of object and concept as stipulated by the tradition of Western metaphysics that culminates in Kant's First and Second Critiques. Moreover, Derrida's attempt to formulate the play of différance is itself limited by too much insistence upon work (cf. Kantian duty) and objective definition (cf. pure reason).