20世纪晚期以来，民族认同问题成为社会关注的焦点与学术领域中的重要命题。对于多民族国家的中国来说，认同问题同样重要。文艺作为重要的参与者和推动力量，在国族认同的建构中扮演了重要角色。与此同时，边疆地带作为多种认同的汇集之地，其文艺也必然反映出多民族国家民族认同建构过程中的复杂性。20世纪40年代的新疆文艺处在域外与本土、内地与边疆、汉族与少数民族、三民主义与马列主义等多对充满张力的关系中，成为考察边疆文艺与民族认同关系的具有特殊性和典型性的窗口。本文通过对报刊、杂志、档案等一手文献的分析，以及对诗歌、小说以及歌舞等文艺形式的文本分析，梳理了20世纪40年代新疆文艺发展的具体脉络和特征，并探究新疆文艺在国族认同建构中的意义。 在与政治文化互动的过程中，新疆文艺的发展形成了两条脉络。一方面，国民党政权尝试在新疆施行由上至下的三民主义文艺统制，以“党化新疆”作为其认同建构的核心。国民党政权进入新疆后，面临内政与外交的复杂情形以及意识形态冲突等挑战，在不同阶段采取有着不同政治目标的文艺手段以稳固统治。但这种政治性的文艺灌输由于国民党本身的腐败、意识形态的僵化以及对地方文化的忽视而难以为继。它也遭到黎·穆塔里甫等少数民族知识分子的反对，最终只留下失败的经验。另一方面，新疆与内地的知识分子作为中介者，自发地向内地传播以歌舞为代表的新疆艺术，形成由下至上的路径，导向更具生命力和影响力的新疆文艺。旅京的少数民族精英组织起新疆回族音乐团，旨在以文艺来唤起国人对新疆的关注，开启了新疆文艺在内地的传播。在全面抗战爆发、知识分子西迁与关注民间的背景下，以王洛宾和戴爱莲为代表的内地知识分子开始采集和改编新疆歌舞。通过他们的中介、阐释与“误读”，新疆歌舞实现了“内地化”和“中国化”，也成为多民族国家身份认同的重要文化符号。上述两条脉络分别代表了建构多民族国家身份认同的不同路径，无论其结果是否成功，它们实际上都存在特定视角等局限性。而1947年由少数民族艺术家组成的新疆青年歌舞团的成功，则表明在跨体系社会中，多元文化之间存在真正平等交流、相互承认的可能性。也应看到的是，“政治文化—认同主体—文艺形式”三者的相互作用始终处在动态平衡的过程之中。

Since the late 20th century, national identity has become the focus of social attention and a significant issue in the academic field. The subject of identity is equally important to China, which is a multi-ethnic country. As a participating and driving force, literature and art have played vital roles in the construction of national identity. Meanwhile, as the frontier area of a country has always been the field to converge multiple identities, the literature and art of frontier has undoubtedly reflected the complexity of the construction of national identity in multi-ethnic countries. In the 1940s, Xinjiang literature and art were involved in multiple stressful relationships, including foreign versus local, inland versus frontier, Han versus ethnic minorities, Three People's Principles versus Marxism-Leninism, which turned it into a special and typical case for examining the relationship between frontier literature and ethnic identity. Based on the analysis of first-hand documents, such as newspapers, magazines, archives, and the interpretation of texts, such as poems, novels, songs and dances, this paper has investigated the process of the development and the distinguishing features of Xinjiang literature and art in the 1940s, and has explored the significance of Xinjiang literature and art in the construction of national identity. In the interaction with specific political culture, there are two approaches of the development of Xinjiang literature and art. On the one hand, the Kuomintang regime tried to implement the Three People's Principles literary and artistic system in Xinjiang from top to bottom, which took “Party-oriented Xinjiang” as the core of its national identity construction. After Kuomintang took the practical control over Xinjiang, it had to face with severe challenges from the complicated situation of external and internal affairs, as well as ideology clashes. During the several governing phrases, the regime had implemented literary and artistic policies of different political aims to stabilize its governance. However, this political indoctrination was unsustainable because of Kuomintang's own corruption, the rigidity of ideology, and the neglect of local cultures. It was opposed by the intellectuals of national minority represented by Lê Mutarif and left us only the experience of failure. On the other hand, as the cultural mediators, the intellectuals in Xinjiang and in the hinterlands spontaneously disseminated Xinjiang’s local art, especially music and dance, to the hinterlands, which was a bottom-up approach leading to a Xinjiang literature and art of more vitality and influence. National minority elites traveling in Nanking organized the Xinjiang Hui Music Troupe aiming at arousing the attention of the Chinese people to Xinjiang with art performances. It inspired the dissemination of Xinjiang literature and art in the hinterlands. With the background of the outbreak of the War of Resistance Against Japanese Aggression, the westward migration of Chinese intellectuals, and the increasing concern for the folk, the hinterland intellectuals represented by Wang Luobin and Dai Ailian began to collect and revise folk songs and dances from Xinjiang. Via their mediation, interpretation and “misinterpretation”, Xinjiang’s music and dance has achieved “Hinterlandization” and “Sinicization”, and has become a significant cultural symbol of multi-ethnic national identity. The two approaches above represent different ways to construct a multi-ethnic national identity. No matter whether the result is successful or not, they actually both have limitations, such as restricted perspectives. However, the success of the Xinjiang Youth Song and Dance Troupe composed of ethnic minority artists in 1947 has showed that, the possibility of truly equal exchange and mutual recognition between multiple cultures in a cross-system society. It should also be noticed that the interaction between political culture, identity subject, and literary-artistic form is always in the process of dynamic balance.