可以说,“文革”后中国的文学批评实践很大程度上是围绕着“伤痕文学”和“反思文学”等思潮开始的,与当年热烈的场景相比,最近的学术界却似乎淡漠了这两个文学潮流。之所以如此,一方面,是当我们重新回顾“新时期”之初的小说创作,总觉得那只是一个过渡时代,尽管它曾强烈地激起灾难之后一个国家和民族的文学想象,然而以今天的眼光来看,却不免有着过渡时代所特有的幼稚,在审美性方面,似乎也不值得过多地加 It can be said that after the Cultural Revolution, the practice of literary criticism in China started largely around the trend of “Scar Literature ” and “Reflection Literature ”. Compared with the warm scenes of the year, the most recent academic Circles seem to be indifferent to these two literary trends. The reason for this is that on the one hand, when we review the novel creation at the beginning of “New Period,” we always feel that it is only a transitional era. Although it has strongly aroused the literary imagination of a country and nation after the disaster, Judging from today’s point of view, they are inevitably childless in the transitional era. It seems that it is not worthwhile to add too much to the aesthetic aspect