本文以丁玲的“自我感知框架”为线索，在自我、文学与时代的互动中讨论丁玲自我变化的过程，进而还原出丁玲“向左转”的主体逻辑。丁玲的早期自我内在于五四“个性解放”所提供的自我图示之内，却在1920年代的现实中却遭遇了理想与现实的断裂，进而体认到自我的“虚假性”。通过分析“梦珂时期”的作品，本文观察到丁玲在文学中揭示出的五四式自我构造危机，以及个人主义在外部世界中的困境和内在自我的分裂与混乱。到了“野草时期”，丁玲的写作风格出现一定的转变，“社会”逐渐作为风景进入自我视野，意味着封闭的个人主义自我图示开始突破。同时，“写作者形象”的浮现不仅表明了她对文学身份的认同和作者意识的觉醒，而且以“硬写之不能”凸显了个人与社会之间的隔阂，预示着重构自我之契机的出现。在“韦护时期”的作品中，丁玲探讨了自我、革命与文学之间的互动，她以革命者内面视角审视革命对个体自我的影响，展现了丁玲对革命的独特理解和面对革命时的复杂情感。同时，她也在女性形象的塑造中继续追问个人与社会关系的重建，试图构建符合革命实践规范的新主体。进而，本文从 “韦护”的二元性人格出发，梳理知识分子与革命关系中知识分子主体问题，并追问丁玲在革命中的位置。

This article employs Ding Ling’s “self-perception framework” to explore the evolution of her identity through the interplay between self, literature, and the era, ultimately elucidating the underlying logic of her “leftward turn.” Initially, Ding Ling’s sense of self was shaped by the May Fourth Movement’s emphasis on individual liberation. However, in the reality of the 1920s, she faced a disjunction between her ideals and reality, leading her to recognize the “falsity” of her previous self. Through an analysis of works from the “Mengke period,” this study observes how Ding Ling’s literature exposed the crisis in the construction of the May Fourth self, highlighting the dilemmas of individualism in the external world and the internal fragmentation and confusion of the self. By the “Ye Cao period,” her writing style underwent a transformation, with “society” gradually entering her self-view, indicating a breakthrough from the closed individualistic self-schema. The emergence of the “writer’s image” signified not only her recognition of literary identity and awakening of authorial consciousness but also underscored the gap between the individual and society through the concept of “writing what cannot be written,” foreshadowing the opportunity for reconstructing the self.

In the works of the “Wei Hu period,” Ding Ling explored the interaction between self, revolution, and literature. She examined the impact of the revolution on the individual self from an internal revolutionary perspective, showcasing her unique understanding of the revolution and her complex emotions towards it. Additionally, she continued to interrogate the reconstruction of the relationship between the individual and society through the portrayal of female characters, attempting to construct a new subject consistent with revolutionary practices. Furthermore, this paper, beginning with the dual personality of Wei Hu, analyzes the issue of intellectual subjectivity within the relationship between intellectuals and the revolution, questioning Ding Ling's position within the revolutionary context.