全文分作六章。第一章為緒論，說明本文的研究動機、研究目的，以及研究方法與研究範圍。第二章為宋末元初時期，夢窗人際網絡效應呈顯在筆記、詞評雖少，但卻在當時各部詞選發揮影響性。此時期沈義父《樂府指迷》、張炎《詞源》評論夢窗的支字片語，皆影響後人深遠，因此我們把此二書之評論，結合百年間詞學理論走勢去觀察。第三章為元明時期，直接批評資料最少，因此我們要追問的是夢窗詞沉寂之原因。而明末諸家書坊的夢窗詞刻選，質與量雖不足，但卻是清人重新發現夢窗詞的契機，故吾人亦詳盡說明其選源與點評價值，並闡釋毛晉刻夢窗詞的文獻依據與價值。第三章至第四章為清代，此時期夢窗詞批評文獻轉多，處理方式不採詳盡羅列，而轉以重要著作、重要詞派的討論為主。清代前期以浙西詞派、官方批評為主，兼論廣陵詞派、陽羨詞派對夢窗的接受；清代後期以常州詞派、清末四大家為主，旁涉吳中詞派、王國維等人對夢窗的接受。第六章為結論，從夢窗詞集文獻傳播與編定，以及歷代外部接受環境的變遷軌跡，以及內部詞學理論的辯證演進三方面，作出整合說明。 This thesis focuses on Wu Wen-ying’s Ci and investigates the aesthetic response of its readers throughout the eight-hundred-year period between the Southern (Nan) Song Dynasty and the Qing Dynasty using western acceptance theories. The way of conduct described in the chapters is to first investigate the acceptance environment and propagate status of Meng Chuang Ci literature from each era, and then, based on the results, inquire both the intensity of arguments criticizing Meng Chuang as well as the meaning behind its acceptance by the different schools of different periods.
The thesis is divided into six chapters. Chapter One introduces the motives, objectives, methods and areas of this research. Chapter Two discusses the period of late Song and early Yuan Dynasties, when the notes and remarks showing social networks effects of Meng Chuang were few yet very influential on the tsu selection of that time. The brief remarks of Meng Chuang from both Shen Yi-fu’s “A Guide to Verse” and Chang Yen’s “Etymology” have a far-reaching impact on generations to come. Hence, we shall compare the remarks from the two books with the trends of etymology theory within a century. Chapter Three discusses the Yuan and Ming Dynasties, a period when information on direct criticism is the minimum. We shall therefore examine the reason for the stagnancy of Meng Chuang study. The engraved Meng Chuang Ci selections of the Late Ming Dynasty may not be sufficient in quality or quantity; however, they contributed in the re-discovery of Meng Chuang Ci in the Qing Dynasty. We shall explain in detail the sources of selection and values of comment as well as the literature basis and value of the Meng Chuang Ci engravings by Mao Jin. Chapters Three and Four focus on the Qing Dynasty. This is the period when literature on criticism of Meng Chuang Ci increases. The way of conduct shall change from detailed listing to the discussion of main works and main stream schools. Early Qing Dynasty the main stream poetic styles were the Zhe Xi School and official criticism with Meng Chuang being accepted by schools of Guang Ling and Yang Hsien, while late Qing Dynasty the main stream preferred the Chang Jhou School and the Four Great Poets of Late Qing with acceptance of Meng Chuang by the Wu Jhong School and poets like Wang Guo-wei. Chapter Six summarizes the thesis and concludes from three aspects - the propagation and compilation of Meng Chuang Ci literature, the changes of external acceptance environment between the dynasties, and the evolution of internal etymology theory dialectic.