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在文学研究范式日益多元化、开放化的当下，经典作家的研究也面临深刻的挑战。尤其，像茅盾这样一个充分体现了文学与政治、理性与审美、理论与实践的关系如此密切又百般纠葛的作家，在旧有研究范式逐步衰落、新的研究范式逐渐酝酿的时期，探究茅盾文学实践的独创性应成为一个重要取向。如果能得到更深入的发掘与拓展，就不但会使茅盾研究达到新的境界，而且还会为中国现代文学研究的突破带来有力的支撑。 而且，纵观茅盾的文学道路，尤其对“理论与实践之间抵牾和矛盾冲突”的认识、态度以及评论中所采用的视角与方法对当代文学所面临的困惑都具有良好的借鉴意义。
Mao Dun’s literary practice was a complex state of "criticism," "creation," and "controversy." If a graph needs to be made, 'criticism' should be between 'creation' and 'argument'. If we further investigate Mao Dun's literary practice in connection with the construction and application of the theory, we may be able to draw such a conclusion: "theoretical travel". In fact, "theory" and "travel" have a genetic meaning intertwined in etymology. The earliest theoretical concept is the primitive commentary and prototype image of travel. The word theory comes from the Greek word theoria, meaning “perspective” and “view”. The verb root of theoriia is theoreein, and the original meaning is “watch” and “observation”. In ancient Greece, “theory” originally referred to travel and observation activities; the specific behavior was that the city-state sent a special person to another A city-state to observes religious celebration rituals. The original image refers to leaving and returning in space, emphasizing the distance and transformation caused by differences in different spaces.” Therefore, Mao Dun’s literary practice: professional critic → writer → writer critic. In a certain sense, it can also be regarded as the "leaving home and returning" of a "travel". It is difficult to avoid “accidents” and the subsequent “tests” accompanied by “travel”. Especially in the 1920~1930s when waves of “controversy” emerged from time to time, this special “situation” had a significant impact on Mao Dun’s entire “theoretical travel”.
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criticism, creation, theoretical travel, Odyssey, Maodun
