20世纪以来,西方意识形态学说逐渐渗入中国文学理论,对中国文学理论的发展形成深刻影响。人们在理解文学现象、建构文论体系、寻找话语方式的过程中不断从意识形态学说中获得启示,拓展了新的理论视域;但同时,也不断因为这种影响而形成偏向,甚至进入理论误区。文学与意识形态到底是一种什么关系?“意识形态”能否通过“审美”的限定而获得对文学本质的界定力量?将文学定位为一种“审美意识形态”,对中国文学的历史状况和现实发展到底产生了什么样的影响……这些问题,无论它们是否在历史上出现过,甚至被讨论过,在21世纪初中国新的文化环境中,对它们进行探讨,其意义依然是十分重要而急迫的。因为中国当代文学理论的外部环境正在发生着化变,新的困惑与挑战不断产生。一方面,西方后现代主义和商业文化的浮泛正在使中国文学理论更多地离开它本应深深植根的中国现实,从而导致对中国文论传统和文学现象的进一步疏离。另一方面,理论方法的游移不定,话语方式的奥涩难解,阐述分析的疲软无力,这些十分明显的弊病的形成,又不能简单归结于文学理论所受到的外部影响。就其自身而言,经历了百年历史过程的中国现当代文学理论,是否真正获得了作为理论的“自律性”与“自治性”,它在基本范畴的确定和本质问题的阐述中是否存在逻辑的不周圆,甚至逻辑的混乱,这是我们更加应该反思的。从这个起点出发,可以肯定地说,进一步考辨“文学审美意识形态”问题,由此展开更为深入而广泛的关于文学理论问题的讨论,乃是中国当代文学理论建设的一种必要行为,它所具有的重要价值不会停留在概念与范畴辨析本身,而会逐渐在文学理论的基本姿态、思维方式和学科理路等更为深刻的层面上显示出来。这里辑发的7篇文章,紧扣“文学审美意识形态”问题,进行了多角度思考分析。我们的希望是,吸引更多关注的目光,回到文学理论建设的基本问题上来,使中国当代日渐繁复的文论状态,在严谨的心态与缜密的思维逻辑中获得更多的纯化与升华。(张永刚) Since the 20th century, western ideology has gradually infiltrated the Chinese literary theory, which has a profound impact on the development of Chinese literary theory. During the process of understanding the literary phenomenon, constructing the literary theory system and searching for the discourse style, people get enlightenment from the ideology theory and expand the new horizon of theory. At the same time, they also continue to be biased by this influence and even enter the theory Misunderstanding. What is the relationship between literature and ideology in the end? Can “ideology” obtain the definition of literary essence through the limitation of “aesthetic”? Positioning literature as an “aesthetic ideology” and the historical situation of Chinese literature And the real development in the end what kind of impact ... ... these issues, whether they have been seen in history, or even discussed, in the new cultural environment in early 21st century China to explore them, its significance is still very Important and urgent Because the external environment of contemporary Chinese literary theory is undergoing change, new confusion and challenges continue to emerge. On the one hand, the flooding of Western post-modernism and business culture is turning the Chinese literary theory away from the Chinese reality that it should have so deeply rooted in, leading to further alienation of the traditions and literary phenomena in Chinese literary theory. On the other hand, the shifting of the theoretical methods, the obscurity of discourse and the weakness of the analysis can not be simply attributed to the external influence of literary theory. For its part, China’s modern and contemporary literary theory, which has undergone centuries-old historical process, has really gained “self-discipline” and “autonomy” as a theory. Is there any logic in its determination of the basic categories and the elaboration of its essential problems? The illogical and even logical chaos is more that we should reflect on. Starting from this starting point, it can be affirmed that the further examination of the issue of “Literary Aesthetic Ideology” and the more in-depth and extensive discussion on literary theory are therefore a necessary act for the construction of contemporary Chinese literary theory, Its important value does not stop at the concept and category discrimination itself, but will gradually be displayed in the deeper level of the literary theory, such as the basic attitude, thinking style and discipline. The seven articles compiled here are closely linked to the issue of “Literary Aesthetic Ideology,” and carry out multi-angle thinking and analysis. Our hope is to attract more attention and return to the basic issues of the construction of literary theory so that the increasingly complex and contemporary literary theory in China will be more purified and sublimated in its rigorous mentality and meticulous thinking logic. (Zhang Yonggang)