“恐惑”理论已经在当代西方文学和文化理论界占据了重要的一席之地。该理论的形成主要归功于西格蒙德·弗洛伊德于1919年发表的散文《论恐惑》。该文在发表之初未得到足够重视,但自1970年代开始逐渐受到越来越多的思想家、批评家和理论家的关注,进而使“恐惑”概念逐渐被理论化,并在心理分析的意义中融入存在主义的意义,加之其本身的否定美学意义,“恐惑”彰显了独特的审美现代性功能。本文通过梳理“恐惑”理论的源起与发展,分析其在心理分析、存在论、美学三方面意义的融合,说明由其审美现代性所体现的当代价值和意义。 “Fear of Confusion ” theory has occupied an important place in contemporary Western literature and cultural theory. The theory is mainly attributed to the prose published in 1919 by Sigmund Freud. At the beginning of the publication, the article did not get enough attention, but gradually attracted more and more attention by thinkers, critics and theorists since the 1970s, so that the notion of “Fear of Confusion” gradually became theoretical and psychologically In the meaning of analysis, the meaning of existentialism is incorporated, and its own negative aesthetic significance, “Fear of Confusion” demonstrates the unique function of aesthetic modernity. By combing the origination and development of the theory of “Fear of Confusion”, this article analyzes the merging of its significance in three aspects: psychological analysis, existentialism and aesthetics, and expounds the contemporary value and significance embodied by its aesthetic modernity.