一近几十年来,在中国,文学理论对主题的热情经历了巨大的变化。五、六十年代,尤其是七十年代,主题被认为是文学作品的内在灵魂。这种理论的意义体现在创作实践上,于是有了一大批按既定的或预想好的主题进行题解式创作的作品。很显然这样的热情不可能维持很久,因为其后果是创作上的失败。然而对主题因素的这种推崇并不都出自于政治意图,根本上还是出自于一种文学认识,即主题在创作中是支配一切的。人们尽可以反对把主题当作一个简单的概念和口号,可以把主题复杂化,赋予其更多的人性价值,使它隐蔽起来,但它仍然占据作家构思的中心:否则作家为什么要写小说、诗歌、散文呢?这是那时对主题问题的支配性看法。到了八十年代,拨乱反正使作家们和理论界感到,主题本身可能就是一个欺骗性概念。如果承认它的存在,马上就会回到旧的思路上去。因此人们开始抛弃主题的概念,不再谈论它,或至少对它极为冷淡。只是最近几年,才有人从新的角度来思考主题概念的价值。我认为,对主题的早期狂热和后期冷淡都建立在同一个不真实 In recent decades, in China, the enthusiasm of the theorists on literature has undergone tremendous changes. In the 1950s and 1960s, especially in the 1970s, the theme was considered as the inner soul of literary works. The significance of this theory is reflected in the practice of creation, and there is a large number of works that are based on established or predictive themes. Obviously, such enthusiasm can not be maintained for a long time because its consequences are creative failures. However, this kind of esteem of thematic factors does not come from the political intention, but also fundamentally comes from a kind of literary understanding that the subject is dominated by the creation. People can oppose the theme as a simple concept and slogan, the theme can be complicated, give it more human value, make it hidden, but it still occupies the writer’s idea of ​​the center: why writers why to write novels, Poetry, prose? This was the dominant view of the subject matter then. By the 1980s, disarrangement made writers and theorists feel that the theme itself could be a deceptive concept. If you admit its existence, you will immediately return to the old way of thinking. So people start to abandon the notion of a theme, stop talking about it, or at least be extremely cool about it. Only in recent years has anyone been thinking about the value of thematic concepts from a new perspective. In my opinion, the early fanaticism of the subject and later indifference are based on the same untrue