本文研究中国“报告文学”概念在当代关键历史时段的嬗变轨迹。“报告文学”是一种开放性的文体，在不同的历史时期，学界对其语义内涵的理解也有所不同。本文借鉴概念史的研究方法，回到“报告文学”概念使用的具体语境，通过梳理前人对“报告文学”概念语义的阐释和建构，重点探究作为文体概念的“报告文学”在关键历史时刻是如何被理解和使用的，力求考察“报告文学”概念内涵和外延的嬗变，并探究文体观念嬗变的深层原因。

第一章主要探讨“报告文学”概念在新中国成立后至七十年代末的发展历程。“十七年”时期，报告文学政治色彩浓厚。受到苏联文学理论的影响，五十年代“特写”和“报告文学”基本是可以互换的文体概念。本章梳理了五十年代中国对苏联“特写”理论的译介与本土化过程，研究为何五十年代“报告文学”的名称基本被置而不用、六十年代又如何为之正名。此外这一时期有关报告文学“真实”与“虚构”的讨论也将纳入本章的研究。

第二章主要对改革开放后至二十世纪末“报告文学”历史语义的演变进行论述。宏观全景式的创作促进了“报告文学”概念的调整和重构，丰富的创作实践和理论阐发使新时期“报告文学”的语义内涵产生新的变化。本章探讨这一文体如何在新时期从狭窄天地中拓展出来，实现了文体的成熟与独立。此外还将对“报告文学”概念中的“批判性”“理性”“历史性”进行重点分析，以期把握这一文体概念在改革开放以来呈现出的新貌。

第三章探讨新世纪以来的“报告文学”概念内涵的多元转型与深化发展。新世纪以来，报告文学向多元化发展，传统报告文学继续向时代纵深处掘进，其语义内涵中的“国家叙事”成为重要议题。与此同时，“非虚构”的兴起又为“报告文学”的概念延伸提供了一种新的可能性。“非虚构”概念缘何在国内走俏、传统“报告文学”与“非虚构”的概念争议、“非虚构”的文体创新等问题都将纳入本章的讨论。

This thesis studies the evolution of the concept of "reportage" during the critical historical period in contemporary China. "Reportage" is an open literary style. In different historical periods, scholars have different understandings of its semantic connotation. Using the research method of concept history for reference, this paper returns to the specific context of the use of the concept of "reportage". By combing the previous interpretation and construction of the semantic meaning of the concept of "reportage", it focuses on exploring how "reportage", as a stylistic concept, was understood and used at the critical historical moments, and strives to investigate the evolution of the connotation and extension of the concept of "reportage" and explore the underlying reasons for the evolution of stylistic concepts.

The first chapter mainly discusses the development process of the concept of "reportage" from the founding of the People's Republic of China to the late 1970s. During the "seventeen-year-period", "reportage" had a strong political flavor and was influenced by Soviet literary theory. In the 1950s, "feature" and "reportage" were basically interchangeable stylistic concepts. This chapter combs the process of translation, introduction, and localization of the Soviet Union's "feature" theory in China in the 1950s, studies why the name of "reportage" was basically abandoned in the 1950s, and how it was renamed in the 1960s. In addition, the discussion of "truth" and "fiction" during this period will also be included in this chapter.

The second chapter mainly discusses the semantic evolution of the concept of "reportage" from the Reform and Opening-up to the end of the 20th century. The macro panoramic creation has promoted the adjustment and reconstruction of the concept of "reportage", and the rich creative practice and theoretical elucidation have brought new changes to the semantic connotation of "reportage" in the new era. This chapter explores how this genre can be expanded from the narrow world in the new era, achieving the maturity and independence of the style. In addition, in order to grasp the new appearance of this genre since the Reform and Opening-up, the chapter will focus on the analysis of "critical", "rational", and "historical" in the semantic connotation of "reportage".

The third chapter explores the multiple deepening of the concept of "reportage" since the new century. Since the new century, reportage has shown a diversified development trend, and traditional reportage has continued to dig into the depth of the times. The "national narrative" in the value connotation of traditional reportage has become an important topic. At the same time, the rise of "non-fiction" has provided a new possibility for the extension of the concept of "reportage". The reasons for the popularity of "non-fiction" in China, the semantic disputes between traditional "reportage" and "non-fiction", and the stylistic innovation of "non-fiction" will all be discussed in this chapter.