《现代中国文学整体化历史编撰研究》意在破除中国近代文学、现代文学、当代文学之间的人为分割，将其视为有机整体加以研究并编撰成文学史。本书分为五部分。

首先是前言，简述关于文学史、文学史学及文学史学史等概念，述说本书研究的缘起及依据，并概述本书叙述线索和章节布局。

第一章 20世纪80年代末期及20世纪90年代初期是现代中国文学整体化历史编撰的尝试期。此时的文学史主体基本上就是将现代文学与当代文学予以整合，很多文学史的分期仍然是按照现代文学+当代文学来进行的。本章将对中国近、现、当代以及新时期几个时间界碑的由来予以知识学考察。

第二章 2000年前后是现代中国文学整体化历史编撰的收获期。该时期倡导“重写文学史”学者的师辈们多编撰“二十世纪中国文学史”，他们的文学史主体主要由近代文学、现代文学与当代文学部分组成。本时期与“重写文学史”倡导者同代的学者编撰更多的是“中国现当代文学史”，他们以审美的文学史观作为自己的文学史追求，在文学史经典及阐释上狠下工夫，动摇了原来革命文学史观指导下的文学经典的排序和名单。本时期还有学者提出“汉语新文学史”观，但在具体文学史编撰中并没有体现出这个文学史概念的优长，这是留给下一个时期文学史撰写者的任务。

第三章 近十年来是现代中国文学整体化历史编撰的震荡期。本时期现代中国文学整体化历史编撰对之前“重写文学史”的理念与实践予以了反思，进而提出多样的文学史理念，并予以实践。大致包含几类：第一类是一些学者提出“现代中国文学史”概念，并进行了相应的文学史编撰；第二类是一部分学者开始着力打通“二十世纪中国文学史”的内在联系，试图将原来断裂开来的文学史链条予以重新锻造，使其成为“通史”；第三类是一些文学史家进行的个人化文学史创新书写；第四类是一些文学史撰写者开始按照“汉语新文学史”理念进行文学史编撰，一些学者在海外华人文学入史方面取得不菲业绩，还有一部分学者以“民国文学史”的主题编撰“中国新文学史”；第五类是一些文学史撰写者为适应不同学生类别或者是实施教育教学改革而书写文学史，可谓“教学改革型”文学史。

第四章 对现代中国文学整体化历史编撰予以整体反思，并提出自己建构现代中国文学整体化历史编撰的思路。

"A Study on the Historical Compilation of Modern Chinese Literature as a Whole" aims to break the artificial division between modern Chinese literature, modern literature and contemporary literature, study it as an organic whole, and compile it into a literary history. The book is divided into five parts. The first is the preface, which briefly describes the concepts of literary history, literary history and literary history, describes the origin and basis of the research of this book, and summarizes the narrative clues and chapter layout of the book. Chapter 1 The late 80s of the 20th century and the early 90s of the 20th century were the experimental periods of historical compilation of modern Chinese literature as a whole. At this time, the main body of literary history is basically to integrate modern literature and contemporary literature, and many literary history periodizations are still carried out according to modern literature + contemporary literature. This chapter will provide an intellectual examination of the origin of several time boundary monuments in China in the recent, modern, contemporary and new periods. Chapter 2 Around 2000 was a harvest period for the overall historical compilation of modern Chinese literature. During this period, the teachers who advocated "rewriting literary history" compiled the "history of Chinese literature in the twentieth century", and the main body of their literary history was mainly composed of modern literature, modern literature and contemporary literature. In this period, scholars of the same generation as the advocates of "rewriting literary history" compiled more "modern and contemporary Chinese literary history", and they took the aesthetic view of literary history as their own literary historical pursuit, worked literary historical classics and interpretations, and shook the ranking and list of literary classics under the guidance of the original revolutionary view of literary history. In this period, some scholars put forward the concept of "new literary history of Chinese", but the advantages of this concept of literary history were not reflected in the compilation of specific literary history, which is a task left to the writers of literary history in the next period. Chapter Three: The past decade has been a period of turbulence in the compilation of the history of modern Chinese literature as a whole. In this period, the overall historical compilation of modern Chinese literature reflected on the previous concept and practice of "rewriting literary history", and then put forward a variety of literary historical concepts and put them into practice. It roughly includes several categories: the first is that some scholars put forward the concept of "modern Chinese literary history" and carried out corresponding literary history compilation; The second category is that some scholars have begun to focus on opening up the internal connection of "Chinese literary history in the 20th century", trying to reforge the original broken chain of literary history and make it a "general history"; The third category is the innovative writing of personal literary history by some literary historians; The fourth category is that some writers of literary history have begun to compile literary history according to the concept of "new Chinese literary history", some scholars have made great achievements in the history of overseas Chinese literature, and some scholars have compiled "new Chinese literary history" with the theme of "the literary history of the Republic of China"; The fifth category is the writing of literary history by some literary history writers in order to adapt to different student categories or to implement educational and teaching reforms, which can be described as "teaching reform" literary history. Chapter 4 reflects on the overall historical compilation of modern Chinese literature, and puts forward its own ideas for constructing the overall historical compilation of modern Chinese literature.（AI翻译）