倪迢雁是近廿年新起的新美学代表人物之一，对“有趣”作为一个审美范畴作出了系统论证。新美学新在哪里?它如何处理自身与传统的哲学美学的关系?它何以能在“理论”之后让美学重获生机?倪迢雁对“有趣”范畴的创设和喻说，为我们提供了这方面的一个范例。有趣首先悬搁审美判断，使之变成一个延展的叙事，说服受众参与，展开和接受，最终完成该审美判断。这给了康德的审美判断的普遍有效性一个操作的途径，也阻止了以定义为标的的形而上学范畴建构原则，对其他范畴的叙事化改造有示范作用。但倪迢雁在两种理论立场间的徘徊，也为她制造了特有的困境，涉及新美学本身的合法性，值得深思。

Sianne Ngai， who has theorized the interesting as an aesthetic category， is one of the representatives of new aesthetics that has emerged within the last two decades. What is new about new aesthetics？ How does it deal with its relationship with traditional philosophical aesthetics？ How can it bring aesthetics back to life after “theory”? Sianne Ngai's theorization and allegory of the category of “the interesting” is a good example. The interesting suspends aesthetic judgment in the beginning and then turns it into an extended narrative， persuading the audience to participate， unfold and accept it， and finally completing the aesthetic judgment. This gives a practical way to the universal validity of Kant's aesthetic judgment and prevents the metaphysical construction of categories aimed at definitions. The practice is also a model for the transformation of narrativization in other aesthetic categories. However， Ngai's oscillation between the two theoretical positions also creates a peculiar dilemma for her and undermines the legitimacy of new aesthetics， which deserves deep consideration.