1930年代的左翼文学诞生于上海，依靠现代出版业诞生发展。这一时期的读者群体以上海市民为主，大多是识字且拥有现代职业的青年。在现代化的出版业和市民读者的影响下，左翼文学不仅具有政治属性，还成为了当时的畅销书。并且，当时畅销的左翼文学作品超出了作品的范畴，被非左翼作家竞相模仿，情节架构、人物塑造、故事走向等均被复制。左翼文学不仅是一种文学类型，还成了被竞相模仿的对象，对其本身的发展和文坛走向都影响深远，故而成为了一种“现象”。本文聚焦于这种状态下的左翼文学，将其呈现出来的种种特点作为文学现象进行探索。

论文第一章重点考察1930年代影响最大、销量最多的左翼文学类型，“革命加恋爱”小说。与“革命加恋爱”小说同时存在于文坛的革命题材小说，作品中恋爱活动和革命活动高度统一，没有“革命加恋爱”中主人公的纠结。然而，反而是“革命加恋爱”小说被钱杏邨认为更加积极。区别在于其他革命小说描写主人公在革命活动中遭遇迷茫，而“革命加恋爱”小说则是主人公历经迷茫选择投身革命。又因为当时不允许作品中表达消极情绪，作家会选择在作品中假托女性之口说出自己的心声。

第二章分析左翼女作家在左翼文学广受欢迎的影响下，产生的创作面貌和创作心理。因为她们既是革命者，又作为新女性，是“革命加恋爱”中的恋爱对象，相比于男作家，她们面临着“女儿”“妻子”“革命者”这三重身份的撕扯。她们也创作出了类似于“革命加恋爱”的小说，但作品基调与蒋光慈等人大不相同，“撕扯感”是她们的共同点。

第三章以张天翼为例，分析即使是高度自觉，主动在作品中贯彻阶级论，且一心以作品充分普及为重的左翼作家，创作所产生的效果也有些事与愿违，时常“溢出”了阶级论。“张天翼热”的产生不是因为他所写的揭露劳苦群众惨状的作品，而是因为早期作品的怪奇描写，后又因为他写出了解构学生运动的《齿轮》，以及与传统白话文小说高度相似的《洋泾浜奇侠》。他在创作中自觉贯彻阶级论，但最受欢迎的是笔下作为时代“杂音”的人物，以及与传统文化相似的作品。不过，传统白话文的形式削弱了他创作的批判力度，他的成功与他的创作动机之间总有轻微错位。

第四章探究了通俗作家对左翼文学的模仿，以及右翼文人为与左翼作家争夺读者所采取的行动。“革命加恋爱”小说是他们的重点模仿对象。作为“模仿对象”的左翼文学，形式对内容的局限较大，其他作家要想借到左翼文学的“东风”，情节只能以拥护革命告终。因此，通俗作家在作品中淡化革命活动，着重描写恋爱活动，而右翼文人因为形式所限无法写出政治立场不同的故事，所以试图从源头上模仿左翼文学。例如，曾今可就复制了早期创造社的文学活动和左翼作家内部的活动，发起“词的解放运动”和“无名作家专号”，还默许了来稿者对丁玲作品《阿毛姑娘》的抄袭行为。

Left-wing literature in1930s was born in Shanghai, and it was a literary form that relied on the birthand development of modern publishing industry. The readers in this period weremainly Shanghai citizens, mostly literate young people with modern occupations.Under the influence of modern publishing industry and citizen readers,left-wing literature not only has political attributes, but also became thebest seller at that time. Moreover, the best-selling left-wing literature worksat that time were beyond the scope of works, and were imitated by non-left-wingwriters. The plot structure, characterization and story trend were all copied.Left-wing literature was not only a literary type, but also an object to beimitated, which had a far-reaching impact on its own development and literarytrend, so it became a "phenomenon". This paper focuses on theleft-wing literature in this state and explores its various characteristics asliterary phenomena.

The first chapter focuses on the left-wingliterature type with the greatest influence and the largest sales volume in1930s, the novel "Revolution plus Love". The revolutionary novelsthat exist in the literary world at the same time as the novel "Revolutionplus Love" have a high degree of unity in love activities andrevolutionary activities, and there is no tangle of the protagonists in thenovel "Revolution plus Love". However, instead, the novel"Revolution plus Love" was considered more positive by Qian Xingcun.The difference is that other revolutionary novels describe the hero's confusionin revolutionaryactivities, while the novel "Revolution plus Love" shows that thehero chooses to join the revolution after being confused. Because it was notallowed in the works at that time，writerswill choose to express their feelings in their works under the guise of women.

The second chapteranalyzes the creative situation and creative psychology of left-wing femalewriters under the influence of "genre-like". Because they are bothrevolutionaries and new women, they are the objects of love in "revolutionplus love". Compared with male writers, they are faced with the tearing ofthe triple identities of "daughter", "wife" and"revolutionary". They also created novels similar to "Revolutionand Love", but the tone of their works is different from that of Jiang Guangciand others, and "tearing" is what they have in common.

The third chapter takesZhang Tianyi as an example, and analyzes that even the left-wing writers whoare highly conscious and take the initiative to implement class theory in theirworks, and are bent on fully popularizing their works, the effect of theircreation is somewhat counterproductive and often "overflows" classtheory. The "Zhang Tianyi fever" came into being not because of hisworks to expose the misery of the toiling masses, but because of the strangedescriptions of his early works, and later because he wrote Gear, whichdeconstructs the student movement, and Pidgin Wonder, which is highly similarto traditional vernacular novels. He consciously implements the class theory inhis creation, but the most popular ones are the characters who are the"noise" of the times and the works similar to traditional culture.However, the traditional vernacular style weakens the criticism of hiscreation, and there is always a slight dislocation between his success and hiscreative motivation.

The fourth chapterexplores the imitation of left-wing literature by popular writers, and theactions taken by right-wing literati to compete with left-wing writers forreaders. The novel "Revolution and Love" is their key imitationobject. As a "quasi-genre", the left-wing literature has greatlimitations on its content. If this "quasi-genre" is adopted, theplot can only end in supporting the revolution. Therefore, popular writers downplayrevolutionary activities and focus on describing love activities in theirworks, while right-wing writers try to imitate left-wing literature from thesource because they cannot write stories with different political positions dueto the limitation of form. For example, Zeng Jinke copied the literaryactivities of the early Creation Society and the activities between the Left Wingwriters, launched the "Ci Liberation Movement" and the "SpecialIssue of Unknown Writers", and acquiesced in the plagiarism of Ding Ling'swork A Mao Girl.