The study of Chinese Ci by North American scholars began with J. J. Y. Liu's comparative study of literature, Glen William Baxter's study of the origin of Ci and James R. Hightower's translation of works and historical documents. In the last two decades of the twentieth century，both the textual structure of words, the application of Western theories such as genre, voice, mask, gender, and even the textual criticism and translation of documents have become the research fields in which North American sinologists have made remarkable achievements. In the last two decades scholars have extended to Ci-poetry in the Republic of China（1911-1949）, music history and cultural history of Ci poetry. However，one of the main research trends is to discuss the continuing nature of research topics including female, speakers, language structure and cultural context. At the same time, without exception, cultural theories such as field, author and landscape have been introduced into Ci poetics. In contrast, another research trend is to try to deconstruct the structure of language and the study of historical and cultural context. Emphasis is placed on the historicity of the text, especially on the study of the historical reconstruction of the Tang culture by the Song people and its influence on the Song people's own culture in the process of reconstruction; and on the variation originating from the change of the material form of the text as the entrance to quote the oral and performance theories to replace the traditional empirical study of the historical and cultural context, and then on. Challenging the authority of the text handed down from generation to generation and rebuilding the meaning of lyric texts are typical symptoms of this research orientation. As for the way of understanding the lyric text sentence, it has formed a kind of ″slow-down understanding″ with the nature of delay from the ″misreading origin″ of the text meaning. Because it is an attempt to disrupt the authority of the author, not to pursue the original intention of the author, and because the translation of classical Chinese poetry is not only the translation of the literal meaning, but also the reorganization of the text meaning; moreover, because the context of history and culture has been replaced by the performance context presupposed by theory, the importance of rhythm, style, textual tension and ambiguity of meaning disappears. At the same time, it uses the form of ″grafting″ text to carry out the argument, and ultimately realizes the rediscovery of the meaning of classical works and writers. Therefore, the prominence of text and the abolition of ″shelf″ study of author are completely different from close understanding based on linguistic structure. After more than half a century, Chinese Ci poetry studies in North American have formed their own system in terms of research issues, methods and theories, and also contain the potential to produce multi-level and multi-oriented results; as for whether it will eventually be transformed into apparent energy and differentiate into more achievements, or go to the opposite of things, that is, to dissolve itself in the process of dissolving the meaning of the text，which will take time to give the answer.