陈映真的文学没有把“左翼”的思想与政治内容作为一种素材或主题来对待,而是通过一种媒介化的形式重组了内容,因此要进入到其美学世界中才能真正把握其试图挖掘的现实和历史世界。在陈映真的笔下,历史是“活的”遗迹,是行动与思考的起点。他也在“去政治化”的历史情境中进行着“再政治化”的文学实践。本文通过具体分析《铃铛花》这篇小说,试图沟通其美学形式与政治,在记忆与风景的叙事框架下,透视陈映真小说的有机结构与生产性。 Chen Yingzhen’s literature did not regard the “left-wing” ideology and political content as a material or a subject, but reorganized the content through a medium form, so that he could really grasp his attempt to enter into his aesthetic world Mining the reality and history of the world. In the pen of Chen Yingzhen, history is a “living” relic and a starting point for action and thinking. He also carried out the literary practice of “re-politicization” in the historical context of “politicization.” Through a detailed analysis of the novel “The Bell Flowers”, this article attempts to communicate its aesthetic form and politics, and under the narrative framework of memory and landscape, the thesis analyzes the organic structure and the production of Chen Ying-zhen’s novels.