本論文探討圖書傳播之多元，借鏡傳播學之理論，以詮釋宋代詩話集成與流布之影響，舉《名賢詩話》、《詩話總龜》、《唐詩紀事》、《苕溪漁隱叢話》、《詩人玉屑》諸詩話總集為說。五部詩話總集，除《名賢詩話》不脫「以資閑談」之原始詩話習氣外，《詩話總龜》以論詩及事為主，又偏好造語用字，已隱現江西詩法。《唐詩紀事》廣搜博稽，徵存唐詩文獻，為南北宋詩人學唐變唐之典範體現。《苕溪漁隱叢話》為詩話記事與品詩之分水嶺，唯提倡創意造語，標榜自成一家，宋詩宋調之風尚已具體而微。《詩人玉屑》為論詩及辭之大宗，強調詩格詩法，為南宋江西詩風之集成與反饋。凡此，或緣於印刷傳媒之便捷，與寫本藏本相輔相成，影響宋代詩人之閱讀接受與發表論述，宋詩特色之形成，得以考見。錢鍾書《談藝錄》所謂「詩分唐宋」，朝廷之崇儒右文，士人之博觀厚積，有以致之。若非雕版印刷崛起，圖書流通暢快，詩學之嬗變當不致如此。

The essay aims to articulate the diversity of book publication, and uses communication theory to interpret the compilation and circulation of books on criticism of poetry during the Sung Dynasty. Examples discussed include collections such as Mingxianshihua, Shihuazonggui, Tangshijishi, Tiaoxiyuyinconghua and Shirenyuxie. Among the themes dealt with in those collections, the most common one is compliments of the Jiangxi poets, and the second one is criticism on the Jiangxi poets, and the third one is the eclectic of the two. Mingxianshihua reveals the not-too-scholarly-oriented, original form of poetic criticism. Shihuazonggui shows implicitly the Jiangxi poets’ style. Tangshijishi collects a plethora of poems from the Tang Dynasty, which eventually serves as the canon for “mimicking-yet-reach-beyond” poetry of Tang (學唐變唐). While Tiaoxiyuyinconghua mainly deals with criticisms on poetry and politics, its advocate for creative neologism and style of one’s own epitomizes the poetic style of the Sung. Finally, Shirenyuxie stresses poetic meters and forms, which reflect the influence of Jiangxi poetic style in the Southern Sung Dynasty. All these result largely from the convenience of printing media that affects the then academic trend, so you can see the formation of Song characteristics. Qian Zhongshu’s the demarcation of poetry within the Tang and Sung Dynasty, the then royal government’s all-pervasive support for scholarly development, and the number of erudite scholars, are all relevant to the rise of printing media and the engraving technique.