我国三大史诗之一的《玛纳斯》不仅是柯尔克孜民族的百科全书、文学经典和精神象征，而且被列入“人类非物质文化遗产代表作名录”，从而登上世界文学、文化舞台，成为全人类共同的财富。要享受这份精神财富，翻译成为不可或缺的桥梁。本论文以英译本为考察重点，从多维视角出发，对史诗《玛纳斯》的翻译传播进行综合系统研究。作为文本翻译传播的前提与基础，论文首先从史诗的搜集记录切入，系统爬梳、整理史诗的“文本化”过程，以厘清各个唱本及其译本之间的关系。继而从史诗的跨文化传播入手，进入到域内翻译和域外翻译的广阔领域，采取宏观视角对《玛纳斯》史诗的翻译传播史进行纵向拉伸，勾勒出《玛纳斯》在我国及西方主要国家翻译传播的认知地图。然后转入微观层面，对《玛纳斯》三个重要英译本展开分析评论，揭示出受译者翻译动机、文化身份、职业身份、时代背景等综合影响，史诗在翻译过程中体现的三种不同样态与特点。 亚瑟•哈图深厚的欧洲古典学学术背景让他的译本呈现出浓厚的学术研究特色。他的译本更侧重对原文意义的挖掘，并汇总与原文相关的全部知识，以达到对早期《玛纳斯》唱本的一个全面认知。哈图译本的体制安排、文体选择、翻译方法都指向“学术译本”的目的。瓦尔特•梅依是俄罗斯、中亚文学翻译家，他的“文学译本”翻译取向呼应了新生独立国家吉尔吉斯斯坦通过史诗《玛纳斯》来彰显民族精神、提升民族凝聚力，从而实现国家认同与民族认同的诉求。梅依译本的文本特点、韵律诗歌文体、通俗语言特点凸显了译本的文学性特征。艾尔米拉•阔曲姆库勒克孜作为本土学者，在伊斯兰文化复兴与民族传统文化回归的时代背景下，肩负起向外推介民族传统文化的使命，采取了“文化译本”的翻译定位。本民族语言表达方式、自由诗歌文体以及多种文化阐释手段让其译本实现了民族文化宣介的目的。上述学术译本、文学译本、文化译本三种样态的翻译反映了《玛纳斯》史诗英译的一个基本概貌。最后本论文对史诗《玛纳斯》在翻译传播过程中体现的特点、难点与缺点进行总结评析；对“活态”史诗翻译涉及的“原文”概念以及对跨界史诗涉及的“一种语言，两种文字”翻译类型进行思考，进一步拓宽这两个理论概念范畴；并针对史诗综合性特征在翻译传播过程中的缺失，即《玛纳斯》作为一部“活态”史诗集语言诗性特点、文化表征功能、口头表演特征于一体，上述三个译本均没有完整体现出史诗的这种综合特征，尤其是缺失了“活态”史诗特有的口头表演特征，以民族志诗学、深度描写理论、影像文化志等为理论基础，提出“活态”史诗翻译实践的跨学科综合视角与综合翻译方式，以便比较完整地呈现“活态”史诗的本质和样貌。

The epic Manas, listed as one of the representatives of intangible cultural heritage for human beings, works as the encyclopedia, literary classics and spiritual symbol for the Kirghiz. As a part of world literature and culture, the translation of Manas becomes an indispensable bridge for the people around the world to access to this great epic. This dissertation, based on the three English translations, makes a comprehensive and systematic study on the translation and dissemination of the epic Manas. Since a translation is based on a text, the dissertation begins with the “textualization” of Manas so as to clarify the relations between the translations of recorded texts. Then it turns to a cross-cultural perspective and makes an investigation of translation history of the epic at home and abroad. The translations involve not only those between Kirghiz language and Han language, Kirghiz language and the languages of some Chinese ethnic groups, but also those between Kirghiz language and the languages of major Western countries, mapping the route and scope of the epic’s dissemination in China and beyond. After that, it narrows down to three major English versions of Manas and makes a detailed analysis and commentary of the features of each translation in light of the translator’s motivation, cultural identity and profession as well as social background and times appeal.With an academic background of studying Western classics, Arthur Hatto produced a learned or philological translation characterized by detailed annotation, lengthy commentary and a great amount of extra-text information to facilitate the understanding of two earliest recorded texts of Manas. He corrected the errors when transcribing the original text and tried to accurately convey the meaning of original words. Besides, transformation of a rhymed poem to a prose intensifies academic features of his translation.As a translator of Russian and Central Asian literature, Walter May provided a literary translation of Manas characterized by a rhymed style, which highlights the theme of national spirit embodied by the heroes, particularly by Manas, the major hero in the epic. Such translation echoes the earnest appeal of Kyrgyzstan, a newly independent country from the former Soviet Union, to manifesting its national identity and enhancing its national cohesion. Elmina Köçümkulkïzï is a native Kirghiz scholar. Against the social context of the revival of Islamic culture and national tradition, her cultural translation reflects her motivation of promoting national culture to the world through Kirghiz literary classics Manas. Preservation of unique Kirghiz expressions, free verse style and a variety of translation methods intended for cultural annotation help her achieve the purpose. The above mentioned three translations reflect a general manifestation of Manas in English speaking world. After making a macro survey of translation history and micro analysis of English translations, the dissertation sums up the translation and dissemination of Manas by revealing multiple types of text and various ways of translation, the difficulties of a full and efficient translation as well as the weaknesses in rendering comprehensive features of Manas. Inspired by theoretical methodology from other disciplinaries such as ethnography poetics, thick description and visual anthropology, the dissertation comes up with a comprehensive way of translating a living epic by representing its poetic form of rhymes and everything related to a poem, by providing cultural annotation and adequate extra-text information to facilitate the understanding of the epic, and by offering the reader a visual product to appreciate an oral performance of the epic.