作为一个有独特创作个性的女作家,丁玲自登上文坛伊始,就受到评论界尤其是左翼批评界的关注。钱杏邮、冯雪峰、茅盾等左翼批评家几乎同时发现了丁玲的文学价值,并以自己的批评方式做出了阐释,丁玲及其作品的红色经典意义也逐渐在他们笔下变得清晰。但也应该看到,钱杏(?)、冯雪峰、茅盾的丁玲评论都存在不同程度的缺陷。由于受到当时左倾机械唯物论影响,他们都企图通过具体的文学形象来图解意识形态的抽象概念,文学审美的中介方式几乎消失了,文学被封闭地焊接在政治、阶级等的标签上,因而丁玲一定意义上成为了他们发挥这种批评理念的传声筒。在丁玲红色意义凸显的背后,却是对文学本体的迷失,深刻的历史经验和教训值得认真总结。 As a writer who has a unique creative personality, Ding Ling has drawn the attention of critics, especially the left critics, since her debut in the literary world. Left-wing critics such as Qian Xing-fu, Feng Xue-feng and Mao Dun discovered the literary value of Ding Ling almost at the same time and explained his own criticism. The red classic significance of Ding Ling and his works gradually became clear to them. However, we should also see that there are varying degrees of defects in the comments of Qian Xing (?), Feng Xuefeng and Mao Dun in Ding Ling’s comments. Influenced by the materialist theory of the leftist revolution at that time, they attempted to illustrate the abstract concepts of ideology through concrete literary images. The intermediary ways of literary aesthetics almost disappeared. Literature was closedly welded on the labels of politics and class. Therefore, Ding Ling In a certain sense, they have become the voice of their criticism. Behind the prominent significance of Ding Ling ’s red color is the loss of literary ontology. The profound historical experience and lessons deserve to be conscientiously summed up.