本文以「具身化」路徑切入毛澤東時代文學，據此探討「感官」在革命文化和社會主義美學中被賦予的意義：人的感官如何成為「社會主義感官」，嗅覺、目光又是怎樣被改造的。毛澤東時代文學有其獨特的嗅覺特徵。香氣被視為危險的氣味，是需要被警惕和克服的，扮演著席捲意識形態的系統性政治穢氣。與香氣形成對比，臭味則脫胎換骨：敘事者改造主人公的道德鼻孔，讓他╱她改變對臭味的尷尬態度，並使其成為不存在的匿名氣味，一種嶄新的意識形態衛生學應運而生。而視覺問題也是探測社會主義感官法則的有效路徑。角色視線的發射與接收在價值天平上是否平衡，會直接決定敘事文本的成功與否。如果心理眼光（故事觀察者）與意識形態眼光（文本中的信仰或價值體系）是重疊的，觀看者和被觀看者均獲得了政治―道德的雙重保證，則該敘事是自洽的；而若看與被看的雙方在價值天平上不對等，則該敘事就違背了視覺交往法則，會出現違和感。探討這一時期文學的感官法則，實則是想借著文本分析，窺探那一時期「人」的存在方式。作家的敘事如何在「社會主義美學」的尺度中求得平衡。

This article takes the path of embodied experience into the literature of the Maoist period and explores the meaning of “senses” in revolutionary culture and socialist aesthetics. It discusses how human senses became “socialist senses” and how olfactory and vison were transformed. The literature during the Maoist period had its own distinctive olfactory characteristics. Aroma was regarded dangerous; it represented systematic political filth that swept across ideologies, which should be alert to and overcome. In contrast, odor turned to be a non-existent smell in the texts, and a new ideological hygiene arose at the historic moment. Vision is also an effective path to detect the law of socialist senses. For example, the balance between the emission and reception of the character's sight on the scale of values directly determined the success of the narrative text. If the psychological point of view and the ideological point of view are the same, both the viewer and the viewed are given political-moral reassurance; narrative will be self-consistent. However, if the viewer and the viewed are unequal in terms of value judgment, the narrative will violate the principles of visual interaction and produce a sense of dissonance. Through textual analysis, the purpose of exploring the sensory rules of the literature is to explore the way of “human beings” existed in that period, and how the writer's narratives were balanced within the scale of “socialist aesthetics.”