李昂的《迷園》自出版以來，便在臺灣現代文學評論和研究領域裡引起熱烈的討論。這些討論的焦點並不相同，包括有：作品的主題、作品的隱喻、作品的結構、作品的人物與作品的主題等等。其中，以「喻意」的方式把「臺灣」比擬為「女性」、「女性的身體」、「被殖民者」等最受矚目，也最有爭議。本文所選擇的探究面向是「小說美學」，首先針為對《迷園》的美學意涵進行爬梳與整理，特別是在此一小說作品上的結構設計與人物刻畫兩方面具有哪些特色。然後，再以現代西方文學批評中的「接受美學」與「新歷史主義」為參照面，藉由它們的核心論述，一方面突顯出《迷園》在「敍事結構」與「歷史記憶」上所隱含的特色，另一方面則指出，《迷園》的這些特色所導致的某些優點與缺點。

Li Ang's novel《Mi Yuan》has attracted the attentions of many literary critics and scholars since it was published in 1991. But the central topics of their discussions are various, such as the theme, the structure, the characters, or the metaphors of the work. Among these topics, to say that Taiwan is the metaphor of a woman, a female body, or a colonial land of another nation (such as China) is probably the most popular and disputed one. This article will choose a different way from them, trying to deal with the two focuses of this novel: the narrative structure and the historical memory of 《Mi Yuan》. As this article suggests, by applying the Theory of Reception and the New Historicism, not only the real characteristics of the narrative structure and the historical memory of this novel will clearly appear, the real reputation of this novel will also be able to be objectively made.