Toward a Postmodern Reinterpretation and Reconstruction of Lyotardian Sublime Aesthetics

崇高，作为西方美学的重要范畴，在利奥塔的理论中得到了新的发展。他基于伯克和康德的崇高理论，不仅接受其关于崇高感的看法和想象力与理性的对立，更强调崇高的核心在于“对不可呈现的呈现”。利奥塔通过对崇高概念的重新解读，挑战了传统美学的边界，解构了传统美学的再现逻辑，将崇高重新定义为后现代艺术对抗总体性、守护异质性的政治实践。The sublime, as a significant category in Western aesthetics, is given new development in Lyotard’s theory. Building upon the sublime theories of Burke and Kant, Lyotard not only adopts their views on the feeling of the sublime and the opposition between imagination and reason, but further emphasizes that the core of the sublime lies in the “presentation of the unpresentable.” Through his reinterpretation of the concept of the sublime, Lyotard challenges the boundaries of traditional aesthetics, deconstructs its representational logic, and redefines the sublime as a political practice in postmodern art that resists totality and safeguards heterogeneity.