本文論題在以尼采美學面向詮釋《人間詞話》李後主相關評論與「有我之境」概念意涵。於研究方法上採以高達美詮釋學中所謂「詮釋者」立場，以筆者所理解的尼采美學作為「前理解」，與《人間詞話》文本「有我之境」相關美學概念進行一場「視域融合」的對話詮釋。而詮釋所得，除了可疏通與深化李後主相關評論的彼此脈絡與意義外，也對「有我之境，於由動之靜時得之」的「動」與「靜」美學意涵進行深度詮釋，並由此詮釋而釐清了「有我之境，於由動之靜時得之」與「無我之境，人唯於靜中得之」的「靜」字不同美學意涵。更重要的是，以本文所理解的尼采美學詮釋立場，與《人間詞話》「有我之境」相關美學意涵對話，最後可得出擴大當代吾人生命學問的新視野。總言之，本文所理解的尼采美學詮釋立場，固然未必全被王國維所把握，但「在今日來看」，卻可因重構王國維美學的基本模式，而解決其中窒礙或難解的問題，甚至可以肯定王氏美學對生活於充斥虛無主義的當代吾人具有深化生命學問的真理價值意義。

The theme of this essay aims to interpret Li Yu’s comments on “Poetic Remarks in the Human World” and connotation of ”Selfward State” from the dimension of Nietzsche’s aesthetics. In terms of research method, the so-called stance of “interpreter” in Gadamer’s hermeneutics was adopted in this study, while Nietzsche’s aesthetics comprehended by the author of this study was served as “Pre-comprehension” to conduct conversational interpretation of “fusion of horizons” with the aesthetic concept of “Selfward State” in the text of “Poetic Remarks in the Human World.” In addition to mediate and deepen the mutual contexts and meaning of Li Yu’s comments, the author further conducted in-depth interpretation on the aesthetic meanings of dynamic and static approaches in “Selfward state derives from static state in motion,” and thereby to interpret and clarify the different aesthetic connotations of “Static state” between the prospect of “Selfward state derives from static state in motion” and the one of “Human gain selfless state from serenity.”