“十月革命”前后,无产阶级文化派一度把持苏联文坛,但因部分主张违背了马克思主义文艺的基本原则,且与苏维埃政权在文化领导权上发生争执,最终走向衰落。然而茅盾却误将无产阶级文化派视作苏联文艺政策的执行者而盲目崇奉。这对此后中国左翼文艺的发展产生了一些负面影响。但在看似机械刻板的照搬、仿写中,早期译介者对无产阶级文化派也进行了程度不同的改写,曲隐表达了个人体认和本土语境要求。茅盾仿照波格丹诺夫《无产阶级的艺术批评》而完成的《论无产阶级艺术》,就在一系列的细微“误读”中显示出某种本土转化的努力,尽管其中仍有不少误区。 Before and after the “October Revolution,” the proletarian cultural faction took control of the Soviet literary world for some time. However, some of the claims violated the basic principles of Marxist literature and art and eventually became controversial with the Soviet power over cultural leadership, eventually declining. However, Mao Dun mistakenly worshiped the proletarian cultural school as an executor of Soviet literary policy. This has had some negative impact on the development of Chinese left-wing literature and art since then. However, in the copying and copying of seemingly mechanical stereotypes, the early translators introduced different degrees of rewriting to the proletarian cultural groups, and Qu Yin implied personal recognition and local contextual requirements. Mao Dun’s “proletarian art”, which was modeled after Bogdanov’s “proletarian art criticism,” showed some sort of local transformation in a series of subtle “misreadings” Many mistakes.