杜夫海納的美感經驗現象學是法國現象學美學的代表。在他的美感理論中，「感性」（the sensuous）延續了梅洛-龐蒂對於身體的重視，並充分揭示了感性在美感中的重要性。本文首先分析杜夫海納關於美感經驗的論述，隨後探討美感經驗中感性的地位與角色及其重要特徵，包括：（1）感性具有一種整體性的運作特徵，它帶來了美感中主客不分的同一化狀態；（2）感性是有智力的，或說，是被智力所滲透的，（情感的）意義可以在感性當中直接被理解；（3）感性具有獨特性，並且此獨特性通向了一個既有深度又承擔了普遍人性的自我存有。藉著杜夫海納的美感經驗現象學，本文指出了三個感性的特徵。正是在美感經驗中，感性回到了它最豐富、最原初的樣貌，它成就了珍貴的美感經驗。法國現象學對知覺的重視，推動了杜夫海納美學中對感性的重視，它幫助我們重新審視了美感中的感性角色，向我們揭露了它那充實而富有意義的樣貌。本文藉由杜夫海納對感性的現象學式的理解，反饋到我們對於美感教育的思考中。

Mikel Dufrenne’s phenomenology of aesthetic experience is one of the most important representative works in French phenomenology of aesthetics. In his theory, the concept of the sensuous is continued with Merleau-Ponty’s emphasis on body and completely reveals its importance in aesthetics. This article is to analyze Dufrenne’s statements on aesthetic experience and then explores the status and role of “the sensuous” in aesthetic experience, revealing its characteristics as follows: first, the sensuous works as a whole in which there is a fusion of the aesthetic subject and object; second, it is of intelligence and is permeated with affections, and the meanings (of feelings) can be directly understood in the sensuous; and third, the sensuous is unique and particular, yet this uniqueness is not enclosed in itself, but leads to a particular self-being which takes on the universal human nature. Based on Dufrenne’s phenomenology of aesthetic experience, this article points out the above mentioned three characteristics of the sensuous. It is in the aesthetic experience that the sensuous is returned to its richest and most original state, resulting in valuable aesthetic experience. The emphasis on perception by French phenomenology fuels the emphasis on “the sensuous” in Dufrenne’s phenomenology, which helps us to re-examine the role of “the sensuous” in aesthetics and uncovers its meaningful features. This article adopts Dufrenne’s phenomenological understanding of the sensuous and provides feedback on our thinking about the aesthetic education.