经过各位专家学者四年多的努力，这套“当代中国文学批评史”终于在中华人民共和国成立70周年之际问世了。编著这套丛书，在于对1949年特别是改革开放以来的当代中国文学批评发展史，从各个不同的侧面进行回顾和研究，总结经验教训，为当下及今后文学批评的发展提供借鉴，推动中国文学艺术走上高峰之路。

70年来，中国文学批评从自我封闭到对外开放，从体系构建到自主创新，经历了曲折而辉煌的不平凡发展历程。从中国文学批评发展的主流看，我们似乎可以概括为“新开端、新变化、新时期、新世纪、新时代”这样一些时段，并对这些时段分别进行分析研究。我们也可以确定诗歌、散文、小说、戏剧等各种文学体裁，分述针对这些文学体裁进行文学批评的历史。我们还可以把文学与艺术交叉形成的一些新艺术门类考虑进来，考察文学批评活动是如何进入这些复杂的文学现象之中的。文学批评研究是一个理论群，涉及批评对象、批评方法、批评者身份、批评目的等，包含十分丰富的内容。我们编写这套丛书，就是要积极面对这种复杂性，以更为宽阔的视野，尽可能收纳更多内容，期待对70年中国文学批评做比较全面的评述和总结。

相比理论著作的撰写，历史著作的写作有很大不同。历史著作要展现一个过程，归纳出一些有规律性的东西；而理论著作要通过逻辑推理的展开，阐明一些道理或原则。写70年的文学批评史，就是要将一些历史事件，历史上出现的观念、思潮、理论，放回历史语境之中来考察，再从中看到历史是如何演进过来的。

20世纪50年代初，中国出现了社会主义建设的高潮，同时也出现了建设社会主义新文化的要求。当时，文化建设是以对旧文化进行批判为背景进行的，因此，理论的指导特别重要。以革命的理论为指导，通过文艺批评，改造旧文艺，建立新文艺，是当时文化建设的中心任务。

在这一大背景之下，当时的文学理论是以毛泽东的《新民主主义论》和《在延安文艺座谈会上的讲话》等著作及其他领导人的著作和讲话提出的文学思想、方针和政策为主体形成的。在中华人民共和国成立之前，毛泽东文艺思想是马克思主义普遍真理与当时中国革命根据地文艺实践相结合的产物。中华人民共和国成立后，中国共产党及其领导的人民政权，面临着比革命战争时期更为复杂的情况，面临着让新的文艺思想占领文艺批评领域，以及在大学课堂里讲授新的文学理论的任务。基于这一需要，我们在当时引进了许多苏联的文学理论，包括苏联的文论教材体系。

20世纪50年代中期以后，形成了理论和批评建设的热潮，当时所倡导的文艺上的“百花齐放”、学术上的“百家争鸣”，使文艺批评的理论和实践建设都有了长足的发展。50年代的文艺争鸣，以及当时出现的一些关于“现实主义”的批评观念，都是极其宝贵的。但是，这些积极探索在“文化大革命”时期遭到错误的批判。改革开放后，文艺批评展现出前所未有的活力，对新时期文艺的繁荣发展起到了推动和引领的作用。在此后的一些年，随着国外一些文学批评理论的引入，中国的文学批评又有了新的变化。一方面，引进国外的文学理论和批评方法，给中国的文艺理论批评注入了新的活力，另一方面，也出现了用国外理论剪裁中国文艺，使之成为西方理论注脚的现象。一些引进的理论不仅不能帮助我们更好地进行有效的文艺评论，反而扭曲中国的文艺，或者将文艺现象抽离，成为理论的空转。在这种情况下，回到文艺本身，构建立足于本土经验的文艺批评理论，就显得尤为迫切和重要。

今天，站在一个重要的历史节点之上，回顾历史，我们可以感慨、感叹、感动，但更重要的，是要有所感悟。中国人讲“以史为鉴”，历史要成为当下的“资治通鉴”。研究历史，要照亮当下，指引未来。努力创建新时代中国文论话语体系，应该是我们今天的中心任务。

构建新时代中国文论话语体系，要坚持实践性。理论要与实践结合，特别是与批评结合。文学理论要指导文学批评，文学批评要在文学理论的指导下进行。由此更进一步，要发展批评的理论。这种批评的理论，不是实用批评手册，而是关于批评的深层理论思考。这种批评的理论，也不寻求在各种文学体裁和各门艺术中普遍适用，而是在研究它们各自的特殊性的基础上，寻求其相通性。从实践中来，形成理论之后，再回到实践中接受检验。

构建新时代中国文论话语体系，要本着“古为今用，洋为中用”的方针，吸收一切对我们有用的理论资源。但是，这绝不是照搬照抄、简单套用。我们曾经用古代文论和西方文论来阐释当代的文艺实践，从历史上看，这样做在当时似乎也有一定的合理性。黑格尔说，凡是现实的都是合乎理性的。从这个意义上，也可以说上述做法曾有其特定历史语境下的合理性。但是，黑格尔还说，一切合乎理性的东西都是应当实现出来的。古代文论不能完全符合当代中国的文艺实际，西方文论更不能很好地符合当代中国的实际。我们必须在吸取多方资源的基础上，立足中国实际，推进理论创新，用新时代的新理论，阐释和指导当代中国的文艺实践，包括中国文艺批评实践。

构建新时代中国文论话语体系，是与中华人民共和国成立70年特别是改革开放40多年来理论建设的努力一脉相承的。这也是我们编辑这套“当代中国文学批评史”的初衷。冯友兰先生在谈到哲学史时，曾区分了“照着讲”和“接着讲”。对于历史事实，对于历史上的重要人物的思想，我们要“照着讲”，不要讲错了，歪曲了前人的思想。但仅仅是“照着讲”还不行，照着讲完了，还需要“接着讲”。历史的车轮滚滚向前，我们要面对新情况、进行新总结、讲出新话来。反过来看，“接着讲”与“照着讲”也是一种承续关系。历史不能隔断，只有反思历史，才能展望未来。

中国特色社会主义进入了新时代。习近平总书记在《在文艺工作座谈会上的讲话》中指出，要用“历史的、人民的、艺术的、美学的观点评判和鉴赏作品”，这对文学批评提出了新的要求，确立了新的标准。我们要守正创新、不离大道，在新的时代，创新发展文学批评理论，助力中国文艺走向繁荣昌盛。

张江

2019年9月

After more than four years of hard work by experts and scholars, this set of "History of Contemporary Chinese Literary Criticism" finally came out on the occasion of the 70th anniversary of the founding of the People's Republic of China. The purpose of compiling this series of books is to review and study the development history of contemporary Chinese literary criticism in 1949, especially since the reform and opening up, from various aspects, sum up lessons and lessons, provide reference for the development of literary criticism at present and in the future, and promote Chinese literature and art to the peak. Over the past 70 years, Chinese literary criticism has experienced an extraordinary course of tortuous and brilliant development from self-isolation to opening up to the outside world, from system construction to independent innovation. From the mainstream of the development of Chinese literary criticism, it seems that we can summarize these periods as "new beginnings, new changes, new periods, new centuries, and new eras", and analyze and study these periods separately. We can also identify various literary genres such as poetry, prose, novels, and dramas, and tell the history of literary criticism for these literary genres. We can also consider some new art categories formed by the intersection of literature and art, and examine how literary criticism enters these complex literary phenomena. The study of literary criticism is a theoretical group, involving the object of criticism, the method of criticism, the identity of the critic, the purpose of criticism, etc., and contains very rich content. We have compiled this series of books to actively face this complexity, to include as much content as possible with a broader vision, and to look forward to a more comprehensive review and summary of 70 years of Chinese literary criticism. Compared to the writing of theoretical works, the writing of historical works is very different. Historical works should show a process, summarize something regular; Theoretical works should clarify some truths or principles through the development of logical reasoning. To write the history of literary criticism in the past 70 years is to put some historical events, concepts, trends of thought, and theories that have appeared in history back into the historical context to investigate, and then see how history has evolved. In the early 50s of the 20th century, there was an upsurge of socialist construction in China, and at the same time, the demand for building a new socialist culture appeared. At that time, cultural construction was carried out against the background of criticism of old culture, so theoretical guidance was particularly important. Taking revolutionary theory as the guide, transforming old literature and art and establishing new literature and art through literary and art criticism was the central task of cultural construction at that time. Against this background, the literary theory at that time was formed as the main body of Mao Zedong's works such as "On New Democracy" and "Speech at the Yan'an Literary and Art Forum" and the literary ideas, principles and policies put forward by other leaders' works and speeches. Before the founding of the People's Republic of China, Mao Zedong's literary and artistic thought was the product of combining the universal truth of Marxism with the literary and artistic practice in the base areas of the Chinese revolution at that time. After the founding of the People's Republic of China, the Communist Party of China and the people's power under its leadership faced a more complicated situation than during the revolutionary war, faced with the task of allowing new literary and artistic ideas to occupy the field of literary criticism and teaching new literary theories in university classrooms. Based on this need, we introduced many Soviet literary theories at that time, including the Soviet literary textbook system. After the mid-50s of the 20th century, an upsurge of theoretical and critical construction was formed, and the "hundred flowers blooming" in literature and art and the "hundred schools of thought contending" in academia advocated at that time made great progress in the theoretical and practical construction of literary and art criticism. The literary controversy of the 50s, as well as some of the critical ideas of "realism" that emerged at that time, were extremely valuable. However, these positive explorations were wrongly criticized during the Cultural Revolution. After the reform and opening up, literary criticism showed unprecedented vitality, which played a role in promoting and leading the prosperity and development of literature and art in the new era. In the following years, with the introduction of some foreign literary criticism theories, Chinese literary criticism has undergone new changes. On the one hand, the introduction of foreign literary theories and criticism methods has injected new vitality into China's literary and art theory criticism; on the other hand, there has also been a phenomenon of using foreign theories to tailor Chinese literature and art, making it a footnote to Western theory. Some imported theories not only cannot help us better carry out effective literary and art criticism, but distort Chinese literature and art, or extract literary and artistic phenomena and become idle theories. Under such circumstances, it is particularly urgent and important to return to literature and art itself and construct a theory of literary criticism based on local experience. Today, standing on an important historical node, looking back on history, we can sigh, sigh, and move, but more importantly, we must have some understanding. Chinese talk about "taking history as a guide", history should become the current "general guide to the governance of resources". To study history is to illuminate the present and guide the future. Striving to create a new era of Chinese literary discourse should be our central task today. To build a discourse system of Chinese literature in the new era, we must adhere to practicality. Theory should be combined with practice, especially criticism. Literary theory should guide literary criticism, and literary criticism should be carried out under the guidance of literary theory. From this, it is necessary to develop the theory of criticism. The theory of this criticism is not a practical criticism manual, but a deep theoretical reflection on criticism. This theory of criticism does not seek universal application in various literary genres and arts, but seeks their commonality on the basis of studying their respective particularities. From practice, after forming a theory, and then returning to practice to be tested. To build a discourse system of Chinese literature in the new era, we should absorb all theoretical resources useful to us in line with the principle of "ancient for modern use, foreign for Chinese use". However, this is by no means a copy and a simple application. We have used ancient literary theory and Western literary theory to explain contemporary literary and artistic practice, and historically, this seems to have some rationality at that time. Hegel said that everything that is realistic is rational. In this sense, it can also be said that the above practice has its own rationality in a specific historical context. But Hegel also said that everything that is rational should be realized. Ancient literary theory cannot fully conform to the reality of contemporary Chinese literature and art, and Western literary theory cannot conform well to the reality of contemporary China. On the basis of absorbing multiple resources, we must base ourselves on China's reality, promote theoretical innovation, and use new theories in the new era to explain and guide the practice of contemporary China's literature and art, including the practice of Chinese literary and art criticism. The construction of a Chinese literary discourse system in the new era is in line with the efforts of theoretical construction in the 70 years since the founding of the People's Republic of China, especially in the more than 40 years of reform and opening up. This is also our original intention in editing this "History of Contemporary Chinese Literary Criticism". When Mr. Feng Youlan talked about the history of philosophy, he made a distinction between "following the lecture" and "continuing to speak". With regard to historical facts and the thoughts of important figures in history, we must "follow the talks" and not make mistakes and distort the thinking of our predecessors. But it is not enough to just "follow the talk", and after the lecture is finished, it is necessary to "continue speaking". The wheel of history is rolling forward, and we must face new situations, make new summaries, and speak new words. Conversely, "continuing to speak" and "following the talk" are also a continuous relationship. History cannot be separated, and only by reflecting on history can we look forward to the future. Socialism with Chinese characteristics has entered a new era. General Secretary Xi Jinping pointed out in his "Speech at the Forum on Literary and Art Work" that it is necessary to judge and appreciate works from "historical, people's, artistic and aesthetic perspectives", which puts forward new requirements and establishes new standards for literary criticism. In the new era, we must innovate and develop the theory of literary criticism to help Chinese literature and art prosper. Zhangjiang, September 2019（AI翻译）