歷來研究者鮮能忽略歐陽修論「半夜鐘」之有無所激起的討論，歐陽修稱唐人有云：「姑蘇臺下寒山寺，半夜鐘聲到客船。」說者亦云：「句則佳矣，其如三更不是打鐘時！」歐陽修認為這是「詩人貪求好句，而理有不通」，詩人為了追求文學的美而疏忽地景的現實，宋人的討論一再追究姑蘇三更鐘聲的有無，這群讀者想要應證文本中的鐘聲在現實追索中是否依然可以獲得證實？這種集體反應焦慮所穿透而出的問題，即地誌文本是否能「當真」？宋人於地誌的閱讀接受極耐人尋味。 另一方面，宋代地誌書寫與閱讀受到時代環境影響，適時城市建設勃興，建築往往賦予人文思考，這種有意結合文人身影與地景關係創造出的地誌與文化地景相當多。本文透過歐陽修、蘇軾在地誌書寫上的閱讀、討論、實踐，與他們在文化地景經營的探討，理解當時地誌文本是如何被閱讀，宋人檢證文本創造的地景經驗，存在於詩人剎那之眼所營造的個人世界，與現實所見的地景產生的距離。落實到他們當代與自身地景的創造與文字的書寫時，宋人如何在文字與現實之間依違迴返，呈現屬於詩人在空間連結的深刻意義。本文希望透過研究宋人的討論與實踐，審視地誌書寫的讀者接受與文化地景、文學地景的形成關係。

The discussions evoked by Ou-yang Hsiu’s speculation on the presence of “midnight bell” in the past have scarcely been neglected by all the literary researchers in Sung. Ou-yang exclaimed that there were words by the Tungs saying: “And I hear, from beyond Suzhou, from the temple on Cold Mountain, Ringing for me, here in my boat, the midnight bell.” And, too: “They were rhetorical words but the midnight time had no bells to tell time.” Ou-yang considered that “poets favored literariness rather than reason” and poets neglected the factuality in the pursuit of the beauty in the literariness. The Sungs incessantly examined the presence of the midnight bell of Suzhou. The readers, in the request of reality, tried to prove the existence of the bell-tolls in texts. Their collective anxiety, thus, gives forth a penetrating question: can the topological texts be treated as “real”? It’s considerably enthralling concerning to the reception of reading in Sung dynasty. This question echoes this very epoch of thriving urban constructions and of human considerations on architectures. Numbers of topological and cultural landscapes, incorporated by both of the intellectuals’ experiences and landscapes, are generated in Sung. This thesis focuses on the interpretation of the topological texts in Sung through Ou-yang and Su’s topological reading, discussion, and practices as well as their explorations in cultural landscape treatment. The Sungs read the Tung texts and scrutinize the landscape experiences generated by those texts. A gap opens between the landscape in the real word and the individual world, located in and formed by poets’ eyes of epiphany. For the Sungs, the distance is the oscillation of two sides between the fictional and the realistic, or, words and real world while they confront the contemporary point of views on the creation of individual landscapes and on writings. Therefore, does such kind of oscillation express any profound meaning in the spatial connections by poets? This thesis anticipates inspecting the readers’ reception in topological writings and the forming relationships of cultural and literary landscapes.