從晚清至20世紀30年代,小報經歷了萌芽至發展繁榮的過程。小報文人也就成為都市文化邊緣中下層報人、文人構成的特殊文化群體,以及近現代市民階層知識分子中的重要組成部分。1949年之后,隨著中共新政權對民營報業的接管,很多舊時代小報文人或被遣散,自謀生路,或離開大陸,移居海外。那么對于小報文人這樣一個"落后群體",中共的態度是否是摒棄,或是排斥。作者選擇了夏衍作為研究對象,通過分析夏衍與小報文人交往關系的起源、發展與維系,揭示夏衍作為中共黨員及新政府的文化干部代表,多年來所發揮的思想宣傳影響及團結、改造小報文人的意義,從中探討革命斗爭中宣傳與統戰二者的關系,以及中國共產黨推進文化統一戰線政策的意義。

From late Qing Dynasty to the 1930 s, tabloids in China experienced a process from germination to development and prosperity. Tabloid writers had also become a special cultural group composed of newspapermen and literati at the edge of urban culture, as well as an important part of intellectuals of the modern citizen class. After 1949, with the Communist Party of China taking over the private newspaper industry, many tabloid writers were demobilized to make their own living or left the mainland. For a"backward group"like tabloid writers, was the attitude of the CPC to abandon or to exclude them? The author chooses Xia Yan as the research object, and, through analyzing the origin, development and maintenance of Xia Yan’s relationship with the tabloid literati, reveals Xia Yan’s influence of ideological propaganda. The author also tries to reveal the significance of uniting and reforming the tabloid literati,making them representatives of CPC members and cultural cadres of the new government. This paper further investigates the relationship between propaganda and the United Front in the revolutionary struggle,as well as the significance of promoting the policy of the cultural United Front.