本文探討詹明信(Fredric Jameson)的馬克思主義文化詮釋理論，並批評其以總體 化(totalization)策略閱讀現代中國文學的多項缺失。詹明信的「辯證批評」(dialectical criticism)源起於《馬克思主義與形式》一書，後又於《政治無意識》中演進為一具三重閱 讀層面的批評模式(three-horizon model)。這一詮釋方法脫離不了「歷史性」 (historicities)的挖掘，因此，應用於閱讀自我映射類的作品(works of self-reflexivity) ，便有招架乏力的窘況；或說這乃是由於自我映射作品所營造的世界不具「真實度」 (authenticity)，詹明信以歷史性為導向的閱讀策略便無從切入文本進行三重層面的剖析。 這個缺失稍後在他的後現代文化理論裡獲得修正；「無深層度感」、「歷史性的消褪」之類 的後現代觀察解決了舊法不適用的問題。雖是如此，他的後現代閱讀理論仍有瑕疵，其一是 他的新理論承襲馬克思主義版本的總體概念(totality)，具有強烈的排異性。這一傾向在他 重新定義現代中國文學史的文字裡更是表露無遺。依此認識，本文嘗試檢驗他的現代史分期 表，並質疑其間的引證訛誤。

　　　　　This paper surveys Fredric Jameson's Marxist hermeneutics and his problematic reading of modern Chinese literature in accordance with his theories of totalization. Taking up Jameson's reading of Lao She's Camel Xiangzi, we will first investigate his "dialectical criticism," a hermeneutic originally set forth in Marxism and Form (1971) and eventually evolving into the three-horizon model in The Political Unconscious (1981). The interpretative method, completely bearing upon historicties, turns futile vis-a-vis self-reflexive works such as Jorge Luis Borges' "Borges and I" or Huang Fan's "How to Measure the Width of a Ditch" for the reason that textual realities of any kind in a self-reflexive story possess no traces of authenticity and therefore allow no access for Jameson's history-oriented model. At the same time we shall discuss how the defects of his earlier dialectical model can be temporarily remedied by recourse to his theories of postmodernism, as elaborated in Postmodernism, or the Cultural Logic of Late Capitalism (1991). Relying on the same concept of totality embedded in the earlier hermeneutic, his postmodernism tends to suppress particularity and heterogeneity in its drive towards totalization. This inclination can also be detected in his attempt to rewrite modern Chinese literary history in accordance with his postmodernist framework. An understnading of his recent periodization scheme will then enable us to pursue the various questions raised by his imposition of a totalizing concept on the history of modern Chinese Literature.