「五四」以降，學者普遍抱持著「為藝術而藝術」的「純文學」觀念，以詮釋、批判中國古代文學。這全是新知識分子反儒家傳統之文化意識型態的投射，不合中國古代文學的「動態性歷史語境」。其實，中國古代士人階層的生活中，詩無所不在，乃是他們社會文化行為所使用既普遍又特殊的言語形式，可稱它為「詩用」；因此本人從而系統化的建構「中國詩用學」。本論文題為〈中國古代「詩用」語境中的「多重性讀者」〉，就是在這一「詩用學」的理論基礎上，深入而全面探討中國古代在「詩用」語境中的「多重性讀者」，以及由此所獲致的文本「意義詮釋」，尤其「作者本意」之詮釋如何可能?更是重要問題。這個論點可以對顯現當代很多學者詮釋古代詩歌，由於缺乏「動態性歷史語境」的觀念，往往將文本從此一語境抽離出來，只做靜態性的詮釋，故而誤以為當代讀者是唯一的讀者，完全不了解在漫長的文本傳播過程中，實歷經多重性的讀者；因此，文本意義的詮釋也被現當代學者所簡化了。

After the May-Fourth Movement, “art for art’s sake” was a “pure literature” concept popular among scholars who interpreted and criticized classic Chinese literature based on this idea. Such a phenomenon was purely an ideological projection of anti-Confucianism by the new intellects, which failed to comply with the “dynamic historical linguistic context” of ancient Chinese literature. In fact, poetry was ubiquitous in the daily life of ancient Chinese intellects. Poetry was the common but unique language form, dubbed as “the use of poetry” as used by literati in sociocultural settings. I, therefore, construct the “the use of Chinese poetry theory” systematically. It is on the basis of the “use of poetry” theory that “‘Readers of plural identifications’ in the linguistic context of ‘the use of poetry’” of the ancient Chinese discusses extensively and profoundly on the “readers of plural identifications” and the “interpretation of meanings” retrieved from the texts, particularly the possibility of the interpretation of the “author’s true intention,” which is the most important issue. The viewpoint may manifest the simplified interpretation of meanings by contemporary scholars due to their lack of the concept of “dynamic historical linguistic context”; as a result, contemporary scholars tend to estrange the text from its linguistic context and make static interpretations, mistaking contemporary readers as the only readers. They fail to understand that during the long process of dissemination, the texts have experienced readers of plural identifications.