一五四以来我国的文艺理论主要是在认识论的基础上发展起来的,往往以科学认识的标准来衡量文艺。这对于克服鲁迅所批评的那种“瞒和骗”的文艺自然是有作用的,但毕竟不是对文艺的一种全面的正确的理解,从而导致有些理论家把现实主义与自然主义混淆一起、不加区分。当时“文学研究会”的主要理论家茅盾在介绍西方“写实主义”(按:实指“现实主义”)的时候,就是把它与“自然主义”混为一谈,认为它“是经过近代科学洗礼的最值得提倡的写作态度和方法”。到了20世纪30年代初,周扬等人所引入的根据当时苏联哲学界以对马克思主义作近代化、认识论化的理解的思想为指导,并在直接吸取了别林斯基、间接吸取了黑格尔的文艺思想的基础上所提出的——“文学和科学、哲学一样,都是客观现实的反映和 Since the May Fourth Movement, China’s literary theory has been developed mainly on the basis of epistemology. Literary art is often measured by the standards of scientific understanding. This is of great help in overcoming Lu Hsiin’s criticism of the literary and artistic nature of “hiding and fooling”, but after all, it is not a comprehensive and correct understanding of literature and art. As a result, some theorists confuse realism with naturalism, No distinction. At the time, Mao Dun, the chief theoretician of the Literary Research Society, confused “naturalism” with Western “realism” (“realism”) and considered it “to be a baptism of science through modern times Most worthy of advocating writing attitude and method. ” By the early 1930s, Zhou Yang and others introduced the idea of ​​modernization and epistemology of Marxism in the Soviet philosophical circles at that time as the guide, and directly absorbed Belinsky, indirectly learned from Haig On the basis of Er’s literary thought, "Literature, like science and philosophy, is a reflection of objective reality and