引論：經(jīng)典文論的三個基本體系及其在后世的流變 ······················1 一、經(jīng)典樂論 ·································································1 二、經(jīng)典詩論 ·································································7 三、經(jīng)典“文”論 ························································· 13 第一章 中國早期詩學的性質(zhì)、分野及與西方早期詩學的比較 ······ 21 一、早期詩學與文人詩學················································· 22 二、早期詩學的幾種類型················································· 25 三、作為作者自敘型開端的《詩經(jīng)》《楚辭》的詩論 ··············· 28 四、早期詩學理論體系的形成及其與西方詩學的比較 ············· 33 五、“樂”作為中西印詩學的共同概念與其不同的展開途徑 ······ 37 六、中西早期詩學在學術形態(tài)上的同異 ······························· 40 第二章 早期詩學的發(fā)展進程：從王官詩學、行人詩學到諸子詩學 ····· 42 一、王官詩學 ······························································· 43 二、行人詩學 ······························································· 56 三、諸子詩學 ······························································· 61 第三章 先秦“詩言志”說的綿延及其不同層面的含義 ············· 68 一、“虞庭言樂”與第一個詩歌本體論的產(chǎn)生 ························ 69 二、春秋行人賦詩言志說詮解 ········································ 74 三、諸子各家對言志說的各自發(fā)展 ····································· 84 四、言志與“六義” ················································· 88 五、經(jīng)典序列中的“詩言志” ········································· 91 六、《禮記·樂記》與《毛詩大序》對“詩言志”的總結(jié)與發(fā)展 ······ 93 第四章 漢儒經(jīng)學、緯學詩論 ··········································· 98 一、四家《詩》的淵源及傳授情況 ····································· 98 二、四家《詩》論的大概·············································· 112 三、四家《詩》的言志及美刺之說 ···································· 115 四、緯書詩說 ······················································ 122 第五章 《毛詩大序》的經(jīng)典價值及其成因 ···························· 126 一、《毛詩》序傳承傳詩教時代以來的詩學 ························· 127 二、《大序》六義新說 ·········································· 136 三、《大序》所揭示的群體詩學原則與個體詩學原則 ·············· 142 第六章 詩歌史的早期建構(gòu) ··································· 147 一、早期關于“先王之樂”及“音樂之所由來”的敘述 ········· 148 二、孟子和鄭玄等人以“正道”為核心概念的詩史觀 ············ 150 三、班固橫亙著經(jīng)典與非經(jīng)典的詩歌史建構(gòu) ························ 156 四、司馬遷、王逸以抒情為中心的《楚辭》詩歌史建構(gòu) ········· 158 五、班固的樂府詩史建構(gòu)················································ 164 小 結(jié) ······························································· 165 第七章 兩漢至魏晉的詩賦理論 ··········································· 167 一、漢代辭賦的基本理論················································ 167 二、“詩賦”整體論抉發(fā) ················································· 172 三、“賦出于古詩”論 ·················································· 174 四、漢賦源出《詩經(jīng)》的具體表現(xiàn) ···································· 180 五、文人詩出于賦及漢魏“詩賦整體論” ··························· 183 六、賦論與詩論先后相互影響的關系 ································· 189 七、文人詩創(chuàng)作詩歌本體論發(fā)展的基本邏輯 ························ 191 第八章 南朝至唐代“人文化成”文學觀的流行歷史 ················ 198 一、《周易》文說、人文說 ······································· 199 二、《周易》文說在漢魏晉時代的采用情況 ························· 202 三、齊梁時期《周易》“人文化成”說成為一種文學原理 ········ 206 四、唐初諸史對“人文化成”說的弘揚 ······························ 213 五、“人文化成”說在唐代文學理論中的流行與變化 ·············· 220 第九章 唐初史家與詩家對南北朝詩歌史的建構(gòu) ······················ 228 一、隋代李諤、王通對南北朝詩風的批評 ··························· 228 二、初唐史家對齊梁詩風基本上持肯定的觀點 ····················· 229 第十章 唐代儒家詩論及其基本范疇 ····································· 233 一、唐人繼承并發(fā)展儒家詩論 ·········································· 233 二、唐人正變之說 ···················································· 236 三、唐人風雅之說 ···················································· 239 四、唐人采詩采風之說 ················································ 242 五、復古與格式兩派的“六義”說 ···································· 245 六、唐人以“比興”為詩之高格 ······································· 249 第十一章 唐人詩道說：由倫理本體論向藝術本質(zhì)論的轉(zhuǎn)化 ······ 255 一、從儒家到鐘、劉等人關于詩道的闡述 ··························· 255 二、孔穎達等《毛詩正義》對詩道的闡述 ··························· 261 三、初盛唐復古派對詩道的提倡的論述 ······························ 270 四、皎然對復古詩道的質(zhì)疑 ········································ 278 五、白居易、劉禹錫兩家對詩道的不同把握方式 ·················· 282 六、晚唐詩道說與“詩道”一詞的流行 ······························ 286 第十二章 “吟詠情性”說在詩學中的主軸地位（上） ············ 289 一、“吟詠情性”之說的產(chǎn)生背景與其在先秦兩漢詩學中的位置 ························································ 291 二、南北朝時期情性本體詩學觀念的確立 ··························· 296 三、南朝性靈說的實質(zhì) ··········································· 306 第十三章 “吟詠情性”說在詩學中的主軸地位（下） ············ 313 一、唐代詩人：吟詠情性與裨補教化并舉 ··························· 313 二、唐人的“情性”“性靈”之說 ····································· 320 三、宋代《詩經(jīng)》學繼承《毛詩》一派情性說：二程與永嘉學派 ····················································· 324 四、宋代《詩經(jīng)》學質(zhì)疑《毛詩》一派的情性說：歐陽修、朱熹 ························································ 332 五、宋代詩歌創(chuàng)作與批評中的情性論 ······························ 340 六、元明清詩學中性情、性靈的理論與實踐 ························ 348 結(jié) 論 ·························································· 351 第十四章 風雅正變的詩歌史 ····································· 353 一、雅頌的理論及其后世延續(xù) ····································· 354 二、《毛詩》系統(tǒng)的變風變雅說 ···································· 355 三、漢代王朝雅頌興起于文人個體創(chuàng)作之前 ························ 360 四、漢魏文人詩對風雅傳統(tǒng)的繼承：崇正而實變 ·················· 366 五、歷代王朝政治的循環(huán)規(guī)律與詩風的正變 ························ 370 后 記 ························································ 374