自20世纪70年代末到80年代,中国文艺理论研究出现“审美论”转向,提出了影响深远的“审美反映”论与“审美意识形态”论;近年来,对于这些中国学人原创性的论说,不少学者提出诸多诘难,给出诸如“唯审美主义”、“审美本质主义”或“过渡时期”文论之类说法。本文以钱中文为个案的研究表明,这些论述多因缺乏对研究对象的沉潜深入的理解而作出了并不符合实际的片面论断。 Since the late 1970s to the 1980s, the study of Chinese literary theory has shifted from “aesthetic theory” to put forward the far-reaching theory of “aesthetic reflection” and “aesthetic ideology.” In recent years, for these Many Chinese scholars put forward many theories about the originality of Chinese scholars and give some sayings such as “aestheticism”, “aesthetic essentialism” or “transitional period” literary theory. This paper, taking the case of Qian Chinese as a case study, shows that these explanations are mostly unrealistic one-sided conclusions due to the lack of deep understanding of the subjects to be submerged.