本論文提出「言意味差」的觀點，以詮釋先秦至六朝「興」意的演變。此一詮釋觀點意 指：在文學整體活動中，從與宇宙、作者、作品、讀者四種不同位置發言，會導致同一形式之言 說涵意的差異；換言之，同樣針對文學活動中的某一議題發言，再形式上使用同一個關鍵詞， 卻因為說話者所站立的發言位置，有宇宙、作者、作品、讀者之別，而導致所發之言在文學理論 意義上形成差異。「興」，指賦、比、興之「興」。「興」義即「興」的義涵。 此一詮釋所獲致的結論是：先秦時期的「興」義，指的是「讀者感發志意」；東漢時期， 「興」轉變為結合「作者本意」與「語言符碼」的「託喻」之義；六朝時期，「興」又轉變 為「作者感物起情」與「作品興象」之義。 從先秦以至六朝，所論述的都是「興」，卻因說話者所站立的發言位置，有宇宙、作者、 作品、讀者之別，而導致上述「興」義的演變。

　　　　　Proposing "reading diachronic discourse from its distinct perspective" as a crucial idea, this study attempts to decipher the multiple meanings of the literary term hsing by tracing how it evolves semantically from the Pre-Chin era to Six Dynasties. It upholds a hermeneutic thesis: the same critical epithet, when applied in literary discourses, may convey different meanings depending on which aspect of the literary activity--Nature, author, work, or reader--the discourse takes into regard. In other words, literally employing the same keyword to deal with a certain issue of literary activity, a seemingly analogous critical speech may in fact serve different theoretical functions in accordance with whose voice the critic is assuming to conduct his discourse: the voice of Nature, author, work, or reader. The hsing perused is from the trio--fu-bi-hsing. This study concludes: in the Pre-Chin era, hsing refers to "reader's affective response" in the interpretative act; during the East-Han Dynasty, it varies to denote "allegory or metaphor" views as a "figurative speech" in the rhetoric act implicating "authorial intention", in Six Dynasties, it turns to signify aesthetically "the poet's pathetic response to Nature" as well as the power inhering autonomously in a poem to "evoke imagery." From the Pre-Chin era ti Six Dynasties, hsing recurs in various literary discourses. As critics of different periods employ this term to conduct discourses from distinct perspectives in regard to Nature, author, work, or reader, the meaning of hsing varies accordingly.