从观念、内容到形式,复出后的丁玲都自觉维护着在特定战争环境和其后封闭的文化环境中形成的已经相当滞后的文学体制,对之显示出了自己一以贯之的忠诚。在观念上,她泥守“文学为政治服务”的命题;在内容上,将“歌德”当成唯一的价值取向,并把它与对社会问题的揭露对立起来;在形式上,以对固有民族形式的张扬排拒现代派文艺。在思想解放运动蓬勃兴起、文学体制也已发生调整的当时,丁玲还继续发出了为原先的文学体制呼号的遥远的回声。这是在政治梦魇困扰下晚年丁玲文艺思想的一个真实侧面。 From the concept, the content to the form, Ding Ling, who came back after his return, consciously maintained the already lagging literary system formed in a specific war environment and the subsequent closed cultural environment, showing his consistent loyalty. In terms of concept, she holds the proposition of “literature serves politics”; on the content, she takes “Goethe” as the only value orientation and sets it against the revelation of social issues; in terms of form, The form of publicity exclude modernist literature and art. At the time when the ideological liberation movement was booming and the literary system had also been adjusted, Ding Ling continued to send out far-off echoes of call signs for the original literary system. This is a real side of Ding Ling’s literary and artistic thinking, troubled by the political nightmare.