上世紀二十年代末在"革命文學"有關文學性質、功能、方向和立場的論爭中,即伴隨著多種話語各不相讓的眾聲喧嘩。其后所發展出的革命文學,則在每一階段或隱或顯的,都存在著與代表正統的文學主潮與權威話語相分歧的"異類"分子。隨著歷史的推演和時勢的變遷,它們的異質性被不斷"放大",最終形構出了具有連續性的"異端"譜系。在主流文化風向不斷收縮、意識形態規訓日趨強化的語境中,他們陷入了深重的歷史困境。從淵源上看,陳獨秀與魯迅,這兩位終極目標頗為一致而在具體個性、行為和方法上各有特點的"革命者",一顯一隱,成為革命文學"異端"譜系的精神源頭。從深層精神結構來看,革命文學"異端"譜系的精神特質蘊涵著來自現代性的追求和現代民族國家沖動之間的緊張沖突。

In the late 1920s, the debates about the nature, function, direction and position of "revolutionary literature" were accompanied by various conflicting voices. In each stage of the revolutionary literature developed afterwards, there were "alien" elements that diverged from literary mainstream and authoritative discourse. With the development of history, these "alien" authors constantly developed and finally formed a continuous genealogy of heresy. In the context where mainstream culture became increasingly conservative and ideological discipline turned stricter, they were gripped in a historical dilemma. Originally, Chen Duxiu and Lu Xun were two revolutionaries with the same ultimate goal, but they had different characteristics in aspects of personalities, behaviors and ways to pursue the goal, thus being the two sources of the "heretical quality" in revolutionary literature. From the perspective of deep spititual structure, the "heretical quality" of revolutionary literature contains a type of tension between the pursuit of modernity and the impulse of a modern nation-state.