《北国江南》是六十年代初文艺政策调整的产物 ,随后成了政治祭坛上的牺牲品。在《北国江南》中 ,阳翰笙一方面试图保持主流文化的纯正性 ,另一方面他又融入了自己的生活感受。对《北国江南》的批判是促成文艺朝着“文革”时期那种依附于阴谋政治的“符码文学”转化的开端。 “Jiangnan of the North China” was a product of the adjustment of literary and art policy in the early 1960s and subsequently became the sacrificial victim on the political altar. In the “Northern Jiangnan,” Yang Han-sheng, on the one hand, tries to maintain the purity of the mainstream culture and on the other hand, he integrates his own feelings of life. Criticism of “Jiangnan of North China” is the beginning of the transformation of literature and art toward “Symbolic Literature” attached to conspiring politics during the “Cultural Revolution”.