小说《班主任》批判了“四人帮”的文化专制,其中涉及对阅读的监控与限制。这种限制不仅体现在书籍的内容上,也体现在读图的方式上。以僵化的阶级批判介入图像的解读,使美学经验受到严重的规训和挤压。这一美学经验的压抑同时也体现在日常生活层面。《班主任》对政治、美学与日常生活的复杂关系的揭示与批判,源自其自身的启蒙话语。这一话语具有鲜明的时间性特征,并表现为两个方向:一方面,它强调1977年的历史断裂意义;另一方面,它又以“十七年”的文化教育为历史资源。然而,这一资源是经重新修订过的。启蒙话语罔顾“十七年”时期的阶级语境和历史条件而对这段文化记忆做均质化和抽象化处理。以超阶级的话语回应政治、美学和日常生活层面的危机,其虽与1970年代中美关系的变化这一宏观历史背景休戚相关,但同时也启动了1980年代政治与美学之间的新问题。 The novel “class teacher” criticizes the cultural monopoly of the “gang of four,” which involves the monitoring and restriction of reading. This limitation is not only reflected in the content of books, but also in the way of reading pictures. With rigid class criticism intervened in the interpretation of the image, so that the aesthetic experience subject to severe discipline and squeeze. The suppression of this aesthetic experience is also reflected in the daily life level. The class teacher’s revelation and criticism of the complex relationship between politics, aesthetics and daily life stems from his own enlightenment discourse. On the one hand, it emphasizes the significance of the historical break in 1977; on the other hand, it uses the cultural education of “Seventeen Years” as the historical resource. However, this resource has been revised. The discourse of enlightenment disregards the class context and historical conditions in the period of “Seventeen Years” and does a homogenization and abstraction of this cultural memory. Responding to super-class discourses on political, aesthetical and everyday crises, though closely linked to the macroscopic historical background of the change of Sino-U.S. Relations in the 1970s, at the same time it also started a new issue between politics and aesthetics in the 1980s.