由于能很好地實現對抗總體性、捍衛差異和見證不可表現之物的任務,崇高在讓-呂克·南希那里得到了不同于利奧塔和德里達的重釋。這不僅體現在對崇高中的"表現"和"界限"進行重新思考,還體現在關于藝術的終結、感性想象力與崇高的關系、崇高之為供奉等論題的思想中。南希把康德的審美圖式區分為"美學揚棄哲學"和"哲學揚棄美學"兩種范式,認為它們都沒有準確表現出后現代狀況中存在的根本狀態。南希將利奧塔崇高中的時間維度與德里達崇高中的空間維度結合起來,將"外展""去界限化"和"供奉"等思想融入崇高的理解之中,更為突出崇高和崇高感本身的生成性、動態性、超越性和不可完結性,使崇高最終得以逾越美學形態的框架,成為更具生存論意義的根本問題之一。南希對崇高概念的重釋,既是對傳統形而上學的解構,又是對德國觀念論的再思,還是對后現代崇高的延續和發展,因而具有反思后現代狀況中人的生存狀態的重要意義。

Different from Jean-Fran9 ois Lyotard and Jacques Derrida, Jean-Luc Nancy’s reinterpretation of the concept of the sublime highlights its functions of combatting metaphysical totality, defending difference and witnessing the un-presentable. What Nancy does is not only to rethink the "presentation" and "limit" of the sublime, but also to reflect on the end of art, the relationship between imagination and the sublime, the sublime offering and so on. Nancy divides Immanuel Kant’s aesthetic schema into two paradigms — "aesthetics sublates philosophy" and "philosophy sublates aesthetics" — and believes that neither accurately demonstrates the essential state of being in the postmodern condition. Nancy incorporates Lyotard’s time with Derrida’s espacement and synthesizes his own thought of "exposition", "de-limitation" and "offering" into the concept of the sublime. He emphasizes more on the sublime and the generativity, dynamics, transcendence and imperfectability of the sublime sense and moves it outside the frame of aesthetic form to become a fundamental issue with more existential concern. Nancy’s reinterpretation of the sublime is not only a deconstruction of traditional metaphysics, but also the re-examination of German idealism, as well as the continuation and development of the postmodern sublime, and thus of great significance for the reflection on the existential status of human in the postmodern condition.