一、以“问题意识”为体例1937年抗战爆发前,蔡仪自日本回国。最初参与湖南的文化救亡工作,1而后于1939年1月到国民政府军事委员会政治部第三厅(后改为文化工作委员会)工作,因通晓日文,在冯乃超领导下的敌情研究组,从事相关的资料搜集和翻译工作,而后转为理论研究。《新艺术论》《新美学》是他这一时期理论研究的成果。蔡仪转向理论研究有两个直接原因:第一,此时全面抗战局面已成,大规模宣传工作可告一段落;第二, First, to “problem awareness ” as the body Before the outbreak of the war of resistance in 1937, Cai Yi returned from Japan. Initially involved in the work of cultural salvation in Hunan, 1 and then in January 1939 to the National Government Military Commission, the third hall of the Political Department (later renamed the Cultural Working Committee), due to be familiar with Japanese, feng Nai-chao under the leadership of the Enemy group engaged in related Data collection and translation work, and then turned to theoretical research. “Art Nouveau” “New Aesthetics” is the result of his theoretical research in this period. Cai Yi turned to theoretical research for two direct reasons: first, when the overall situation of the war has become a large-scale publicity work can come to an end; second,