馬森於中國現代文學史書寫上有兩個重要的理論貢獻，其一是「兩度西潮」的觀念，另一個是「擬寫實主義」的論點。然而這兩個理論自提出以來，前者為大陸學者所接納，承其論者大有人在；後者則或被漠視、或被誤解，遭到彼岸排拒、駁斥的命運。基於此，「兩度西潮」自不必論，而「擬寫實主義」則有進一步釐析、闡釋以泯除誤解而獲得正視的必要。面對彼岸至今仍持守中國現代文學史上有一「現實主義」傳統的觀念，本文針對馬森所提出的「擬寫實主義」論點進行論述。在闡述其說的過程中，首先，藉助外延的討論，釐清「寫實主義」與「模仿」傳統的關係，然後藉由馬森的論點進一步歸納西方寫實主義流派的文論主張，講明寫實主義的實質；其次，通過馬森對中國接受寫實主義歷程、心態的基本認識，徵引文獻論述中國寫實主義倡導者理解上的偏離；最後，舉馬森討論過的幾個作品加以詳論，總結出其「擬寫實主義」觀念之切中彼岸現代文學史書寫之要害，以及其在重寫現代文學史上的重要性。

The term “Pseudorealism,” firstly proposed by Ma Sen, was an antithesis to the idea that has insisted a “tradition of realism” in the modern history of literature in China. However, this important contribution of the theory has been ignored or misunderstood since it was constructed, which makes Ma’s theory confront the fate of rejection and objection in China. This paper aims to analyze and explicate Ma Sen’s theory of “Pseudorealism” in order to resolve the long-term misunderstandings since it was constructed. To reveal the importance of Ma’s theory in the reconstruction of modern history of Chinese literature, this paper concludes that Ma’s theory hits the mark of modern history of literary writings in China.