- 美国汉学界的苏轼研究
- 万燚
- 8185字
- 2025-04-24 19:39:17
二 研究内容与方法理路
（一）研究内容
本书除绪论与余论外，分为六章：
绪论着重指出美国汉学界苏轼研究的现状，本书的选题价值、研究内容、研究方法与基本思路。
第一章为“美国汉学界的苏轼研究发展史”。在指出美国汉学界苏轼研究历史文化背景的基础上，从纵向维度梳理研究成果，包括苏轼作品的英译本、专著、博士论文、单篇学术论文，归纳每个历史时期的研究特征，并从整体上把握其研究特点。
第二至第六章从横向维度集中探讨美国汉学界对苏轼的跨文化批评。分为美国汉学界的苏诗研究、美国汉学界的苏词研究、美国汉学界的苏轼哲学与美学思想研究、美国汉学界的苏轼贬谪心态研究、美国汉学界苏轼研究方法与话语五个专题，每个专题均以重要学者的学术见解为中心，形成以问题为经，以学者观点为纬的研究模式。具体如下：第二章“美国汉学界的苏诗研究”主要探讨苏诗的思想内核与“以文为诗”，以何大江、艾朗诺、杨立宇的观点为中心；第三章“美国汉学界的苏词研究”集中剖析苏词对传统的革新与“词人之声”，以刘若愚、孙康宜（Kang-I Sun Chang）、艾朗诺的论述为中心；第四章“美国汉学界的苏轼哲学与美学思想研究”以包弼德、艾朗诺、管佩达（Beata Grant）、许龙的成果为中心；第五章“美国汉学界的苏轼贬谪心态研究”以金斯伯格（Ginsberg）、唐凯琳、艾朗诺、杨治宜的成果为中心；[61] 第六章“美国汉学界苏轼研究方法与话语”主要包括文本细读、定量分析、平行研究、“知人论世”、会通互证等研究方法与身份（identity）、艺术面具（persona）、诗人之声（Poetic Voices）、自我（self）等话语。同时将中美苏学学术话语与理论视角进行比较。总之，这五章将对美国汉学界苏学研究重要学者的学术见解、理论视角、方法话语等进行准确引介，同时以一种对话态度对他们的观点予以述评。
余论则对中西研究方法的融合、西方理论话语分析中国古典诗词的契合性、跨文明研究中的价值判断等问题进行探讨。
（二）方法理路
本书的研究思路如下：
首先从历史纵向维度梳理美国汉学界苏轼研究的基本文献，从整体上把握传播轨迹和走向；然后从横向维度对跨文化批评中的焦点问题进行剖析，既从总体上概览美国汉学界苏轼研究状况，同时也对单个问题进行深入研讨。对焦点问题在学术见解、理论视角、方法理路等进行详细论述的基础上，再与中国学界进行对比、鉴别。最后对中西研究方法的融合、西方理论话语分析中国古典诗词的契合性、研究中的价值判断等问题进行探讨。
本书主要运用以下研究方法：
第一，历时研究与共时探讨相结合。既从纵向维度梳理美国汉学界苏轼研究史，把握美国的苏轼研究发展走向及背后的深层原因，体察研究表象之下的客观规律，又从横向维度清理美国苏学的丰硕成果，通过设立专题，分门别类地归纳整理，既述且论，达到披沙拣金、采金集玉之效。
第二，比较研究法。运用比较法将美国汉学界苏轼研究与中国学界相关成果进行对比、鉴别，并进一步上升到中西诗学比较的层面作深入探讨。
第三，跨异质文明研究法。本课题涉及中美两种文化间的碰撞与对话，尤其是直接关涉中西诗学的双向反观，因此，唯有融通中西才能从根本上触及本课题的核心与本质。
研究中特别注意三个问题：
其一，学术立场。如何在跨文明对话中既尊重差异，又在一定程度上寻求共识。由于文化的差异，苏轼作品在向异域传播的过程中必然会出现误译、误读等文化交流中不可避免的情况，甚至会由于权力话语与意识形态因素而导致文化碰撞。但与此同时，中外文化在某种程度依旧具有相通、相融合之处，我们既要看到并尊重差异，同时又要寻求两种异质文明之间的共识。这要求我们采取求同存异、兼容并包的学术立场。
其二，方法论探讨。对于美国汉学界的苏轼研究成果，我们不能仅满足于引介，更应对其进行深层的学理探研，在千姿百态的表象之中把捉他们的研究方法与话语，对他们的理论视角和思想来源进行揭示，审视其优长与弊端，使之真正内化于自身研究，才能真正促进我们自身研究观念与方法的更新与发展。
其三，理论与实践之间的转换。即如何有效地将总结的特点与规律运用到当下中国文学研究、文化建设与文化走出去战略中去。这要求我们必须提供一些能运用于具体文化实践中的策略。
本书试图在以下两个方面突出研究特点：
其一，全面系统整理美国汉学界的苏轼研究成果，从整体上把握其研究趋势、研究特点。美国汉学界研究苏轼的成果虽不是浩如烟海，但也是硕果累累，精深者有之，因袭者有之，故而在史料运用时采取博与精相结合的方法，在尽量全面占有史料的前提下，充分运用材料，谨慎筛选、择取典型材料，对它们进行准确的分析与判断，以保证立论的稳妥，做到博观约取、取精用宏。
其二，在比较视域中对美国汉学界的苏轼研究进行再研究，在中西诗学对话层面考察美国汉学界的苏轼研究的方法、话语、思想来源等。在进行评价时，联系论者所处的历史时代、政治背景、个人学术思想、价值观念等对其作细致深入的剖析。在进行中西对话时，着重对比分析各自使用的学术话语及背后的思想文化传统。
[1]此为苏轼评价李白、杜甫之语，其曰：“李太白、杜子美以英玮绝世之姿，凌步百代。”笔者以为，用来评价他自己也是恰当的。
[2]此为王国维评价屈原、陶渊明、杜甫、苏轼四人之语，原话为：“天才者，或数十年而一出，或数百年而一出，而又须济之以学问，助之以德性，始能产生真正伟大之文学。此屈子、渊明、子美、子瞻等，所以旷世而不一遇。”
[3]美国西华盛顿大学东亚研究中心的唐凯琳（Kathleen M.Tomlonovic）于2001年提出西方汉学界的苏轼研究在20世纪70年代之后有了长足的进展，25年间有关苏轼的论文和专著，超过了研究其他传统文人的成果。不仅是治宋代文学的学者醉心于苏轼的生平与作品，其他领域的学者也非常关注苏轼在中国政治史、文化史、艺术史、思想史上的重要地位。参见唐凯琳《“散为百东坡”——西方汉学界的苏轼研究》，载曾枣庄等《苏轼研究史》，江苏教育出版社2001年版，第704—767页。
[4]Bakhtin，Speech Genres and Other Later Essays，trans.Vern W.McGee，Austin：University of Texas Press，1986，p.80.
[5]Bakhtin，Speech Genres and Other Later Essays，trans.Vern W.McGee，Austin：University of Texas Press，1986，p.80.
[6]王晓路：《西方汉学界的中国文论研究》，巴蜀书社2003年版，第33页。
[7]顾伟列：《20世纪中国古代文学国外传播与研究》，华东师范大学出版社2011年版，第4页。
[8]据统计，1958—1970年，美国联邦政府、基金会、高校投入大约5300万美元用于资助中国学研究，巨额资金的投入使得这一时期的美国中国文学在机构设立、人员培养、著作出版以及中国知识教育开展等方面取得了跃进式发展。参见吴原元《隔绝对峙时期的美国中国学（1949—1972）》，上海辞书出版社2008年版，第1页。
[9]顾钧：《美国汉学的历史分期与研究现状》，《国外社会科学》2011年第2期。
[10]曾枣庄提出，就整个苏轼研究史看，900多年来，大体可分为6 个时期：“经纶不究于生前”的时期；南宋“风行”期；金、元“靡然”期；明代“中熄”期；清代“复炽”期；现当代“熄”而“复炽”期。参见曾枣庄等《苏轼研究史》，江苏教育出版社2001年版，第18—22页。
[11]李学勤：《国际汉学漫步》，河北教育出版社1997年版，第429页。
[12]唐凯琳：《海外研究苏轼简介》，载苏轼研究学会编《论苏轼岭南诗及其他》，广东人民出版社1986年版，第392页。
[13]鲁迅：《摩罗诗力说》，载《鲁迅全集》第1卷，人民文学出版社2005年版，第67页。
[14]周发祥：《西方文论与中国文学》，江苏教育出版社1997年版，序第2页。
[15]黄鸣奋：《英语世界中国古典文学之传播》，学林出版社1997年版，第1页。
[16]黄鸣奋：《英语世界中国古典文学之传播》，学林出版社1997年版，第4页。
[17]王晓路：《西方汉学界的中国文论研究》，巴蜀书社2003年版，第41页。
[18]韩军：《跨语际语境下的中国诗学研究》，华中师范大学出版社2009年版，第245页。
[19]顾伟列主编：《20世纪中国古代文学国外传播与研究》，华东师范大学出版社2011年版，第107页。
[20]饶学刚：《苏东坡在国外》，《黄冈师范学院学报》2005年第2期。
[21]饶学刚：《苏东坡在国外》，《黄冈师范学院学报》2005年第2期。
[22]饶学刚：《苏东坡在国外》，《黄冈师范学院学报》2005年第2期。
[23]季进：《另一种声音——海外汉学访谈录》，复旦大学出版社2011年版，第21页。
[24]季进：《另一种声音——海外汉学访谈录》，复旦大学出版社2011年版，第21页。
[25]Ronald C.Egan，Word，Image，and Deed in the Life of Su Shi，Cambridge，Mass.：Harvard University Press，1994，“Preface”，p.xv.原文：“My goal is to analyze Su’s art in this larger context of his life and thought.”
[26]唐凯琳：《海外苏轼研究简介》，载苏轼研究学会编《论苏轼的岭南诗及其他》，广东人民出版社1986年版，第370页。
[27]唐凯琳：《宋代文化的代表人物苏轼——美国汉学界近年来研究情况简介》，载孙钦善等主编《国际宋代文化研讨会论文集》，四川大学出版社1991年版，第450—456页。
[28]曾枣庄主编：《苏轼研究史》，江苏教育出版社2001年版，第704页。
[29]Austin Clarke，“The Prose Poetry of Su Tung-P’o”，The Spectator，Vol.149，No.5436，September 1932.
[30]Cyril Drummond le Gros Clark，The Prose Poetry of Su Tung-P’o，New York：1964，reprint of 1934 edition.
[31]J.K.Shryock，“The Prose Poetry of Su Tung-P’o”，Journal of the American Oriental Society，1936，p.95.原文：“The author’s introduction gives the life of Su Tung-P’o，his philosophy of art，and the nature of the fu，or prose-poem.Each of these constitutes an admirable essay in itself.In describing the poet’s philosophy of art，Mr.Clark gives an account of his relation to political，philosophic，and artistic movements of his day，and his debt to Buddhism and Taoism.He differs from Waley’s low estimation of the poet，and while admitting that he quotes freely，maintains that his writings show real genius.In the essay on the fu，Mr.Clark follows Waley in deriving the form from the incantations of the ancient state of Ch’u，and traces its history from Ch’u Yuan through the Han，Medieval and T’and periods to the Sung.The changes that the fu form has undergone at various times are also analyzed.There are Chinese and‘foreign’bibliographies，and an index.The full notes give the Chinese，and explain proper names，historical references，and literary allusions，These add a great deal to the scholarly value of the book，but are almost too full，since it hardly seems necessary to quote from such scholars as Klaproth and Kingsmill at this date.”
[32]J.K.Shryock，“The Prose Poetry of Su Tung-P’o”，Journal of the American Oriental Society，1936，p.96.原文：“The main body of the book gives translations of twenty-three fu，which are rendered partly in prose and partly in free verse.The prose sections seem too familiar in style and lacking in dignity.The free verse is much better，but hardly has the beauty of Waley’s translations.The material of these fu covers a wide range，and includes treatises on music and art，philosophic reflections，and much lyric poetry of great charm.The description of the typhoon is splendid，while the gentle melancholy of the two poems on the Red Cliff is beautiful and characteristically Chinese.”
[33]J.K.Shryock，“The Prose Poetry of Su Tung-P’o”，Journal of the American Oriental Society，1936，p.97.原文：“But on the whole，Mr.Clark’s book will be valuable for its thorough and sound scholarship，rather than for its merits as a piece of literature.As a scholarly work it deserves the highest praise，and the binding，format，and other details are up to the high standards we have come to expect from the publishers.”
[34]John Knoblock，“Su Tung-P’o：Selections from a Sung Dynasty Poet”，Journal of Asian Studies，Vol.26，No.1，Nov.1，1966，p.112.原文：“The problem of translating Chinese poetry into literate English is not merely one of maintaining sense so that we can learn the‘correct names of many birds，herbs，and trees，’but also one of‘inspiring emotion’and reflecting the poetic structure and sensibility of the original.Satisfactory balance between the requirements of correct sense and poetic structure has long troubled translators.”
[35]John Knoblock，“Su Tung-P’o：Selections from a Sung Dynasty Poet”，Journal of Asian Studies，Vol.26，No.1，Nov.1，1966，p.112.原文：“Too often fidelity to the original has been sacrificed to paraphrases entombed in contrives pseudo-Chinese phrases and notions of‘poetic’English or，perhaps worse，the sense is preserves in English so barbaric as to destroy the poetic sensibilities of the original.Consequently，there exist no formula，no common body of techniques and conventions，no classic translations to inspire and guide the new translator.Each new translation and each translator is，in effect，plowing new ground and inventing new techniques and conventions.Facing these problems in this volume，Mr.Watson has used his considerable talents and wide experience to translate the poetry of Su Tung-P’o with uncommon success and gratifying results.”
[36]John Knoblock，“Su Tung-P’o：Selections from a Sung Dynasty Poet”，Journal of Asian Studies，Vol.26，No.1，Nov.1，1966，p.112.原文：“They are divided into five groups，corresponding to the major periods of Shu’s life and are selected on the basis of the author’s personal tastes and how well he is able to put them into English.Nonetheless，he has attempted to‘suggest the breadth of forms used and the subjects treated by the poet，and to convey something of his distinctive personality.’In terms of this statement of purposes，the author has been extremely successful.One cannot quarrel with his choice of poems when only some 80 out of over 2，400 surviving poems are translated，but one might wonder that the selection includes three poems on‘New Year’s Eve’（Nos.11，30，63）and nine poems on the Eastern Slope.”
[37]John Knoblock，“Su Tung-P’o：Selections from a Sung Dynasty Poet”，Journal of Asian Studies，Vol.26.No.1，Nov.1，1966，p.112.原文：“As the author indicates，one Chinese is always translated by one English line，and to indicate the length of each line，the number of characters is given.There is no attempt to render rhyme or tonal patterns，and accordingly they are not indicated.The value of this procedure can be seen in the greater compression and fidelity to the spirit and tone of the original.”
[38]John Knoblock，“Su Tung-P’o：Selections from a Sung Dynasty Poet”，Journal of Asian Studies.Vol.26，No.1，Nov.1，1966，p.113.原文：“Since the author has not attempts to give more than minimal introductory material，one cannot judge him lacking，but one may ask if the reader，particularly the general reader might not have profited by certain additions and changes.The Introduction notes that，in contrast to many of his contemporaries，Su wrote rapidly，rarely polishing or rewriting his verses.In a footnote，a particularly apt example of Wang An-shi polishing one of his poems is given.An illustration of the effect which Su’s rapid composition had on his verse would make the contrast more striking and illuminating.”
[39]John Knoblock，“Su Tung-P’o：Selections from a Sung Dynasty Poet”，Journal of Asian Studies，Vol.26，No.1，Nov.1，1966，p.113.原文：“The Chinese literary tradition expected a poet to utilize the works of his predecessors and consequently allusions abound in Chinese poetry，but the author restricts his identification of allusions to those necessary to understand the poem.One may ask if this is really sufficient，though the author contends that Su’s works can be read profitably without any knowledge of them.In limited terms，this is doubtless true，but can one comprehend the relation of Su’s poetry to the tradition of Chinese poetry，grasp the‘richness of association’which form so much a part of traditional views of poetry，or realize the validity，in the Chinese context，of the dictum that only‘poverty in learning makes a writer hesitant in alluding to facts’and that‘to be able to use the words of others as if they were one’s own creation is to have perfect understanding of the past’.”
[40]John Knoblock，“Su Tung-P’o：Selections from a Sung Dynasty Poet”，Journal of Asian Studies，Vol.26，No.1，Nov.1，1966，p.113.原文：“There are other areas where additional material would have enhanced the value of this volume.But，realizing that‘a translator has to exercise rigid control if his work is ever to reach a stopping point，’one must conclude that Mr.Watson’s Su Tung-po is a valuable addition to the growing corpus of translations which make the classics of Chinese literature available to the general public，and one must be grateful that Mr.Watson has given us this much and only hope that in his next volumes he will perhaps consider the value of additional critical material and commentary to round out and vivify the cultural and intellectual context of Chinese poetry.”
[41]James J.Y.Liu，“Su Tung-P’o：Selections from a Sung Dynasty Poet”，Journal of the American Oriental Society，Vol.86，No.2，Nov.1，1966，p.252.原文：“I regret to say that the translations in this volume do not live up to the high expectations that some of Professor Watson’s earlier works have led us to entertain.Despite his avowed intention，he has，ironically enough，succeeded better in revealing the human qualities of Su’s personality（e.g.his philosophic calm，his irrepressible joie de vivre，his sense of humor，his sympathy for the poor）than in conveying the purely literary qualities of the poet’s style（e.g.its powerful rhythmic flow，its fresh and unusual diction，its verbal ingenuity which often underlies a deceptive simplicity）.”
[42]James J.Y.Liu，“Su Tung-P’o：Selections from a Sung Dynasty Poet”，Journal of the American Oriental Society，Vol.86，No.2，Nov.1，1966，p.252.原文：“Of course，similar criticism could be leveled at practically any translation of poetry，for a great deal of‘poetry’is inevitably lost or at least changed intranslation.Nevertheless，I venture to suggest that，in translating Chinese poetry into English，it is possible to approximate the original style by using a kind of English with a comparable degree of formality or colloquialism，complexity or simplicity，directness or obliquity，compression or expansiveness，etc.Now，the translations in this volume seem to me much more colloquial and less‘literary’than the original poems.While I can understand and sympathize with Professor Watson’s apparent desire to avoid stilted and pseudoarchaic English and to preserve the liveliness of Su Tung-P’o’s style，I think it is going too far to resort to frequent uses of such colloquialisms as‘Want to know what the passing year is like？’（p.26），‘won’T’（p.26），‘doesn’t it？’（p.88），‘isn’t it？’（p.88），etc.”
[43]James J.Y.Liu，“Su Tung-P’o：Selections from a Sung Dynasty Poet”，Journal of the American Oriental Society，Vol.86，No.2，Nov.1，1966，pp.252-253.原文：“After all，Su did not，except in a few cases，write in the colloquial languages of his day，let alone that of today.True，his poetry is spontaneous and natural，but it is so within the framework of a literary language.There can be‘natural’in the sense that Shakespeare’s blank verse is natural”in each case，the language does not strike us as being forces，because of its fluency，flexibility，variety，and inevitability，but this does not mean that either poet wrote as he actually talked，much less as we talk today，be it Chinese or English.”
[44]James J.Y.Liu，“Su Tung-P’o：Selections from a Sung Dynasty Poet”，Journal of the American Oriental Society，Vol.86，No.2，Nov.1，1966，p.253.原文：“Furthermore，Su’s poetry possesses auditory qualities（e.g.Rhythm，tone-pattern，and rhyme）Which cannot e preserves in translation.To render it into plain，colloquial modern English without the benefit of strong auditory effects is to do it less than justice.A more sophisticated，more dignified，more heightened—in short，a more‘literary’style might have been preferable.”
[45]Kathleen M.Tomlonovic，“The Road to East Slope—The Development of Su Shi’s Poetic Voice”，Chinese Literature：Essays，Articles，Reuiews，Vol.13，Dec.，1991，p.146.原文：“Fuller’s monograph on Su Shi苏轼（1037-1101）is the first scholarly，book-length study in English of the pre-eminent literary figure of the Northern Song.It is a timely work，appearing after a decade of focused attention on Su Shi in China and of numerous publications in Chinese and Japanese.”
[46]Kathleen M.Tomlonovic，“The Road to East Slope—The Development of Su Shi’s Poetic Voice”，Chinese Literature：Essays，Articles，Reuiews，Vol.13，Dec.，1991，p.146.原文：“As the title implies，the study focuses on the development of Su Shi’s poetry，beginning with his earliest works and concluding with the poems composed during the Huangzhou exile of 1080-1084 when the poet adopted the name Su Dongpo苏东坡，Su of East Slope.Although the core of Fuller’s book is the translation and detailed analysis of more than one hundred of Su Shi’s poems，this is no mere anthology.By providing both historical and biographical annotation that supports the rhetorical analysis of the poetry itself，Fuller seeks to‘restore the sense of voice’（p.1）to the literary texts.”
[47]Kathleen M.Tomlonovic，“The Road to East Slope—The Development of Su Shi’s Poetic Voice”，Chinese Literature：Essays，Articles，Reuiews，Vol.13，Dec.，1991，p.146.原文：“The selections from Su Shi’s collection of more than 2600 shi poems are primarily from works composed between the years 1059 and 1085.Although twenty of these poems，including six of the‘East Slope’series，have been translated previously by Burton Watson，Fuller’s carefully researched annotations and rigorous analysis of the rhetorical features of the poems justify a reconsideration.Fuller’s translations，informed by scholarly considerations，are generally accurate，somewhat prosaic，but highly readable.”
[48]Kathleen M.Tomlonovic，“The Road to East Slope—The Development of Su Shi’s Poetic Voice”，Chinese Literature：Essays，Articles，Reuiews，Vol.13，Dec.，1991，p.147.原文：“According to Fuller，the distinctive features of poetry from each period can be ascribed to Su Shi’s‘voice.’While Fuller does not specifically define the term，he uses it to refer to poetic features such as general structure，tone，diction，rhetoric and themes.He utilizes the modern conception of the author as possessing a distinctive，individual personality and style.Here，Fuller’s ideas resemble the concept of‘voice’employed by Stephen Owen who assumes that the discerning reader or critic has a role in restoring the original voice of the poet.In contrasting Su Shi’s public and private voices，Fuller also draws attention to the element of subjectivity in Su Shi’s poetry.”
[49]Kathleen M.Tomlonovic，“The Road to East Slope—The Development of Su Shi’s Poetic Voice”，Chinese Literature：Essays，Articles，Reuiews，Vol.13，Dec.，1991，pp.148 -149.原文：“Because Su Shi’s own understanding of li was neither systematic nor consistent over time，we cannot demand a perfectly lucid account from Fuller，who has aligned from Su Shi’s writings the most significant passages regarding li.Nonetheless，because Fuller’s theoretical discussion constitutes a significant portion of Chapters Twoand Three and is found in numerous passages throughout the book，the reader expects a cogent account.As it is，several clarifying concepts are still tucked away in footnotes；it is possible that Fuller’s own understanding of the issues matured after his dissertation had been completed，and that it was difficult to incorporate the new materials.In any case，Su Shi’s conception of li is not well integrated in the analysis of the poetry in Chapter Four and Five.”
[50]James M.Hargett，“The Road to East Slope—The Development of Su Shi’s Poetic Voice”，The Journal of Asian Studies.Vol.51，No.2，May 1，1991，pp.380 -381.原文：“The focus of Fuller’s book is the verses Su Shi composed between his youth（beginning around 1059）and his subsequent exile in Huangzhou in 1085（Su had a farm at a place there called Dongpo，or‘East Slope’）.The author’s purpose is to‘restore the sense of voice’in Su Shi’s poetry；that is to say，‘to rebuild the language of the poem from the bare texT’so we can‘hear’the‘meanings embodied in the texT’（p.1）.In Su Shi’s case，this is undoubtedly a difficult task，for he was a polymath whose erudition and interests constantly inform the language of his literary works，especially his shi poetry.At the same time，Fuller also seeks to demonstrate how Su was influenced by his predecessors and show how he contributed to the development of China’s poetic tradition.”
[51]Jonathan Pease，“Contour Plowing on East Slope：A New Reading of Su Shi”，Journal of the American Oriental Society，Vol.112，No.3，Jul.-Sep.，1992，pp.470 -477.原文：“Michael Fuller has studied how the poetic voice of Su Shi（1037 -1101）evolved from youth through early middle age，attaining its well-known mature form during Su’s exile at Huangzhou in his late forties.The detail and emphasis on literary theory of Fuller’s book may help raise Su Shi studies in the West to a new sophistication.Some of the book’s limitations are deliberate.It discusses only shi，not ci，and does not study the poet’s later works.Other limitations are symptomatic of many new Western studies in Chinese literature：translations that are accurate but hard to follow，overly theoretical analysis that distorts some poems’s contents，and occasional attribution of a harshness or violence to classical voices that is misleading and probably not authentic.”
[52]Ronald C.Egan，“The Road to East Slope：The Development of Su Shi’s Poetic Voice”，Haruard Journal of Asiatic Studies.Vol.52，May 1，1992，p.313.原文：“This is a detailed chronological study of the shi 诗 poetry of Su Shi，from the earliest period through his Huangzhou exile，that is，just over half of his entire corpus.It is the first full-length study of Su’s poetry to appear in English and probably the most rigorously chronological analysis of Su’s development as a poet that has ever been done in any language.Taking full advantage of the thorough dating of poems in Su’s voluminous collection undertaken by Wang Wen gao 王文诰and earlier scholars，Fuller has produced an almost annalistic account of changes in Su’s verse，something that could not be done for the great majority of earlier writers.His study is one that will be of interest not only to students of Song dynasty poetry but also to anyone who wants to follow the development of a poetic genius through time.”
[53]Stuart H.Sargent，“Word，Image，and Deed in the Life of SuShi”，T′Oung Pao.Vol.83，Jan.1，1997，p.191.原文：“I believe any person with an interest in China should study this book.Indeed，anyone who deals with the humanities at large would profit by reading Word，Image，and Deed，for it exemplifies a subtlety and clarity of thought and expression rare in any age and especially lacking in recent writing on literature and culture.”
[54]Stuart H.Sargent，“Word，Image，and Deed in the Life of SuShi”，T′Oung Pao，Vol.83，Jan.1，1997，p.191.原文：“To begin with，there is the sheer greatness of the man.Now，I frankly am tired of being told what a multifaceted genius Su Shih was，though I suppose this telling is an important ritual for our colleagues in China who need to promote him as a cultural hero.Egan’s Western audience is not looking for national icons，so he can spare us the pieties.Yet I find that in the process of comprehensively explicating the intellectual and political environment of Su Shih，the values he formulated in which his responses are reflected in his writings，Egan indirectly renews and deepens our appreciation of what can only be summed up as Su Shih’s greatness.”
[55]Stuart H.Sargent.“Word，Image，and Deed in the Life of SuShi”，T′Oung Pao，Vol.83，Jan.1，1997，p.192.原文：“Su Shih emerges in this book as a model of caring engagement with the world.Chapter5，‘Provincial Activism In and Out of Office，’for example，reveals the energy and creativity Su Shih exercised in wheedling funds out of the government to address local issues.”
[56]Stuart H.Sargent，“Word，Image，and Deed in the Life of SuShi”，T′Oung Pao，Vol.83，Jan.1，1997，p.193.原文：“Turning to Su Shih’s shih poetry，Egan masterfully surveys the significant aspects of his art：Su’s ous of jocularity，interest in unusual perspectives（literal or social），reflections on transitory moments，and fondness for unusual metaphors are insightfully characterized as his attempts to‘replicate with words such feats as the boddhisattvas could accomplish，collapsing the normal dimensions of space and time，or otherwise offering up novel ways of envisioning familiar events or things’（p.197）.”
[57]Stuart H.Sargent，“Word，Image，and Deed in the Life of SuShi”，T′Oung Pao，Vol.83，Jan.1，1997，p.195.原文：“Egan’s discussion（pp.272 -73）of the sense of i in Su Shih’s use of hsin-i（new artistic intent/aesthetic mood）as a nonemotive term of praise in art should be required reading for anyone who deals with aesthetic criticism in Chinese.”
[58]Stuart H.Sargent，“Word，Image，and Deed in the Life of SuShi”，T′Oung Pao，Vol.83，Jan.1，1997，p.195.原文：“The perspicacity of Egan’s reading of Su Shih is exhibited once again in the pages where he discuss motivations for Su’s interests in the arts.Clearly aware that through these interests he and his fellows had exceeded all predecessors，Su nevertheless only tentatively and in very specific circumstances suggested that the arts were a means by which one might apprehend li（pattern）or the Way；stronger was his affirmation of the arts as exercises in the expression of self and，to be sure，of unique moral superiority-exercises that were also safer politically than writing（pp.300-305）.”
[59]Stuart H.Sargent，“Words，Image and Deed in the Life and Works of SuShi”，T′Oung Pao，Vol.83，Jan.1，1997，pp.195 -196.原文：“I approached the‘Conclusion’chapter of Word，Image，and Deed with some misgivings，for it begins with Su Shih’s posthumous reputation.Too many books on Chinese poets begin or end with ritual citations of the assessments of traditional critics，and I felt it would be a shameful dilution of Egan’s masterful analysis to lard it with what，in so few remaining pages，could only be a superficial summary of Su Shih’s place in literary history；moreover，I did not share Egan’s confidence（p.357）that Su Shi’s close friends would not stray far，in representing his life，from Su’s own views，for I have long felt that Huang T’ing-chien and the others were strong personalities whose appropriations of Su Shih were colored by their own agendas.”
[60]韩军：《跨语际语境下的中国诗学研究》，华中师范大学出版社2009年版，第3页。
[61]之所以专设“贬谪心态”一章，主要源于美国汉学界极其关注苏轼的贬谪及其心态，往往对其进行专门研讨。如最早以苏轼贬谪心态为研究对象的金斯伯格，专门探究黄州时期苏轼从“臣”到“人”的心态转变；堪称美国汉学界苏轼研究集大成之作的《苏轼人生与创作中的言、象、行》（艾朗诺著）一书不但研究了苏轼的诗、词、文赋、书画、政治思想、学术思想、佛家思想等，还特设专章“贬谪文学”探讨苏轼贬谪期间的文学新变与苏轼世界观的转变过程；西华盛顿大学唐凯琳的博士论文更是以苏轼贬谪期间的思“归”心理为研究对象，挖掘其丰富内涵；普林斯顿大学杨治宜的博士论文也特设专章研讨苏轼岭海创作心态，可见“贬谪心态”已成为美国汉学界高度关注的焦点问题之一，故本书也辟专章予以述评。