黄庭坚诗歌在元明两代长期受到贬斥，但在晚清诗坛却极其风行，影响深远。本文立足于传统的文献学、诗歌史和批评史研究方法，并借鉴西方接受理论，对清代前中期的黄诗接受进行较为深入的梳理、论述，探讨黄诗从较受冷落到盛极一时的转变历程。第一章对清代以前的黄诗接受状况作简要的概述。第二章论述清前期（顺、康两朝）的黄诗接受。清初宋诗风兴起以后，黄诗接受并未随之兴盛，黄诗在当时是受到相对冷落的。本章对此诗学现象作了探讨，然后对二冯、王士禛、吴之振、朱彝尊等代表诗人的黄诗接受进行个案研究。第三章论述清中期（雍、乾、嘉）的黄诗接受。雍、乾之际，随着浙派、秀水派的兴起，黄诗接受开始有了初步的进展。继而翁方纲和桐城诗派大力倡导师法黄诗，到了嘉庆后期，黄诗接受已经呈现兴盛的趋势。本章对秀水诗派、桐城诗派和翁方纲的黄诗接受进行了重点论述。第四章论述清人对黄集的整理与刊刻，重点介绍了缉香堂本、殿本、树经堂翁校本等重要版本的校勘成果，并指出其对当代黄诗研究的价值。余论部分对黄诗接受在乾嘉之际出现转折的原因进行探讨，并概括了清代前中期黄诗接受的特点。附录《清代前中期黄诗接受史资料补编》，补辑傅璇琮《黄庭坚和江西诗派资料汇编》未收的清代黄诗接受史资料。本文主要创新之处有：一、清初宋诗风的兴起是清诗史最引人瞩目的事件之一，本文对清初宋诗风兴起时间的考证，修正和推进了前人的研究；对黄诗在宋诗热中遭遇相对冷落的论述，则揭示了一个为学界所忽视的重要诗学现象。二、关于朱彝尊晚年是否师法宋诗的问题，清代以来一直众说纷纭，当代学者倾向于认为朱氏晚年仍然尊唐抑宋，甚至因而把他排除在浙派之外。本文通过探讨朱彝尊的黄诗接受历程，有力地证明朱彝尊晚年确实师法宋诗，尤其推崇黄诗。这对我们更好地认识朱彝尊诗歌思想和把握清诗史流变有重要意义。三、本文通过考察黄庭坚集的清代刊本，发现很多刊本都有重要校勘价值，并指出：由于对清代黄集刊本的轻视和不了解，当代的两大权威黄诗校点本都出现数十处校勘错误；清人所刊黄庭坚集从石刻中辑得十余首佚诗，当代学者编《全宋诗》也未能收入。四、本文首次系统梳理了清代前中期黄诗接受的发展历程，并指出黄诗在清代中期以后盛行的原因，这对我们更好地理解黄诗接受史和清代诗史都有一定意义。

This thesis utilizes various research theories and methods such as dramalogy， pedagogics，psychology，Women’s studies，communication and cultural research，etc.，focusing on Tang Xianzu’s The Peony Pavilion，and taking the close link between the drama and the female love education in Ming and Qing Dynasties as major point of concern，to investigate into the implementing method，the cultural connotation， the functional feature，the basic characteristic and the social significance of the female love education of the dramas in Ming and Qing Dynasties in all aspects，in details and in profundity.As the basis of the whole thesis the introduction briefs on the objects，methods，and contents of the research. From Chapter 1 to Chapter 3，the author focuses on the spread of Tang Xianzu’s The Peony Pavilion，and respectively from three aspects of the female readers，the female audience and the actresses，comprehensively observes the implementing methods of the female love education of the dramas in Ming and Qing Dynasties. From Chapter 4 to Chapter 8，the author focuses on the generating mode and the realization process of the love in The Peony Pavilion，profoundly observes the cultural connotation and the functional feature of the female love education of the dramas in Ming and Qing Dynasties. The conclusion of this thesis summarizes the characteristics and the significance of the female love education of the dramas in Ming and Qing Dynasties.There are four creative points in this thesis. First，focusing on Tang Xianzu’s The Peony Pavilion，the production of this thesis effectively explores and propels the research of the history of Chinese arts education and the history of Chinese female education. Second，this thesis systematically probes into the female love education of the dramas in Ming and Qing Dynasties，demonstrating a paradigmatic academic mode for the theory and methods of the research of the love education. Third，this thesis consists of two parts，the former stressing the research on the object of education， while the latter on the content of education，that is structurally integrated and logically self-consistent，forming a relatively self-contained theoretical system. Fourth，there are some creative viewpoints mentioned in this thesis，such as the discovery of the classic reading and the spontaneous generation described in The Peony Pavilion and its possible educational effect of the love education on the females，the reveling of the features of the female sex dreams and their connotation of the love education，the discussion on the unique expressing way of the love education of the drama，as well as the investigation of the connotation of “bring forth love and restrain oneself with morality”of The Peony Pavilion，etc.. Most of them are unique in style.