周扬身上有着文艺理论家、革命家的双重身份,作为文艺理论家,周扬以其“政治—艺术”一体化批评方式见证了新文学从左翼文学到解放区文学再到新中国文学的全过程;作为革命家,他领导、助推了一系列文艺运动,成为党在若干历史时期文艺政策的阐发者、执行者。针对不同时期周扬的表现,有学者用“摇荡的秋千”概括之,秋千的动力来自“仕途的雄心和文化的使命感”。事实上,无论是赞扬还是批判,都没有摆脱情绪化思维,周扬的“进退”、“荣辱”、“左右”是那个时代知识分子的一个缩影,政治强力为文学创作留下的空间太小,时代裹挟不容作家拥有太多的艺术个性。 As a literary theorist, Zhou Yang has witnessed the whole process of new literature from left-wing literature to liberated area literature to new Chinese literature through his “political-art” integrated criticism. As a revolutionary, he led and promoted a series of literary movements and became the interpreter and executor of the Party’s literary and artistic policies in a number of historical periods. In response to the performance of Zhou Yang in different periods, some scholars summed up the “Swinging Swing”. The driving force of the swing comes from “the ambition of career path and the sense of cultural mission”. In fact, both praise and criticism have not got rid of emotional thinking. Zhou Yang’s “Progressive and Advancement”, “honor and disgrace,” “left and right” are epitomes of intellectuals in that era, and political power strongly reserved literary writing Under the space is too small, the times can not tolerate the writer has too much artistic personality.