本研究試圖考察哈伯瑪斯意義下的「後現代主義」所指為何，進而探討其將尼采視為後現代主義之先行者的詮釋與批判是否妥當。研究以其〈現代性─一項未完成的計畫〉一文為起點，並關聯到《現代性的哲學論述》（Der philosophische Diskurs der Moderne）對於現代與後現代論題的系統化論述。經過推敲疏理，本研究發現哈伯瑪斯之所以將尼采視為後現代主義的先行者，主要由於其表現在對於拒絕啟蒙現代性計畫之審美取向的非理性主義，即酒神救贖論和審美品味認識論。換言之，哈伯瑪斯對於尼采的詮釋和對於後現代主義的批判是交織在一起的，因此，本研究將分別檢討他的尼采詮釋與他對後現代主義的看法所可能產生的爭議，以及審視哈伯瑪斯將尼采視為後現代之先行者的妥當性。

This article is endeavored to answer a question: what is Habermas's postmodernism? Which consists of two parts: first, what is postmodernismto Habermas? Second, Habermas considers Nietzsche as the prototype of postmodernity, therefore as the envy of the project of modernity. Is this appropriate? The present work attempts to start from the discussion of the crucial article: Modernity-An Unfinished Project, and the following systematic work The Philosophical Discourse of Modernity, try to clarify that how Habermas conceives ＂postmodernism＂ and how he interprets Nietzsche's irrationalism, especially the Dionysian messianism and the epistemology of aesthetic taste. Habermas's interpretation and critique of postmodernism are interwoven. Hence, I will separately review the possible controversies within the two parts, to reappraisal the adequacy of ＂Nietzsche as the prototype of postmodernity＂.