本文的研究对象以英语世界的元曲研究为中心，并论及元曲自18世纪西传以来在整个英语世界的译介与传播状况。立足于对英语世界知名元曲研究专家及其研究成就的个案研究，以及对英语世界元曲研究博士论文的全面考察和梳理，并通过与国内元曲研究的比较研究，本文力图于研究内容和方法上突显英语世界元曲研究的特质，以期实现新时期双方元曲研究的有力互补和融合。以此而论，本文在译介学、曲学史、文学关系史以及中西思想史等方面均具有相当重要的学术意义与价值。 英语世界的元曲译介始于18世纪早期英国对元杂剧《赵氏孤儿》的译介，《赵氏孤儿》以其悲怆感人的戏剧情节、神秘唯美的异域情调，以及剧中所宣扬的隐忍坚贞的献身精神、高洁顽强的斗争意志、坚守理想的爱国信仰等方面的内容，有机地契合了其时处于资本主义初期阶段的英国的社会政治和文化语境。其后以德庇时、翟理斯为代表的业余汉学家虽也在一定程度上促进了元杂剧在英国的传播，但英国传统的实用功利的汉学传统却无疑制约了元曲在英国的进一步传播；整个20世纪以来就英国而言亦只有杜为廉一人的元曲研究值得圈点。20世纪中后期西方汉学中心移至美国后，美国遂成为英语世界元曲传播与研究的重镇。如果说先前英国的元曲传播主要表现为元杂剧译介的话，那么此期美国的元曲传播则是元杂剧与元散曲并重、译介的同时更注重研究，且取得了丰硕的研究成就；其研究内容精深而广泛、研究方法独特而多元。20世纪英语世界的元曲研究，就地域上来讲主要是指美国的元曲研究；就历史时期而言，亦是有史以来英语世界元曲研究的兴盛和成熟期。通过对英语世界元曲家地位的定量分析表明：英语世界本土汉学家和华裔学者无疑是元曲于英语世界传播的中坚力量，他们较高的中国文化素养和对元曲的深切体认与经典认同感，特别是元散曲特有的主题思想和艺术特征与战后西方现代语境与审美特质的深层契合，共同促使了中国元曲家及其作品经典地位在海外的确立，从而保证了中外元曲家经典地位的一致性；亦显示了那种中西皆同的审美情趣和人文理想。总体上来说，英语世界的元曲特别是元散曲译介范围较窄且存有译介重复和不平衡的现象，今后需要在译介的同时更要注重对其进一步加大研究力度。 诗人学者施文林将元散曲视为“中国语言创造诗性效果的方式”的例证，以“技巧与意象”入思，着力探讨了元散曲的韵格、节奏、元音和辅音、平对与重复关系和比喻等方面艺术特征，他基于“元辅音模式”而对元散曲独特声音效果的分析，彰显了其卓越的语言分析能力。黎得机和克朗运用逻辑数理分析、图表法等西方现代科学方法，主要从韵律模式、联套体式等元曲的艺术制式方面，分别就元小令和散套进行了详尽的梳理与系统归结。对于元散曲的题材，柯润璞主要针对小令提出了闺情爱情、道情归隐、渔樵田园、讥讽戏仿等四类题材，而克朗则专对元散套指出了其可区分为情感、自然、玄理、应景及其他等四方面的内容。林理彰致力于对贯云石生平史料及其创作历程的详尽钩沉考证，并依托刘若愚对中国诗歌独特的分析模式，从“引典、意象、象征、措辞、表达”等五方面对贯云石的散曲作品进行了细致的语言分析。柯润璞则通过对史料的重新梳理与考证指出，张养浩的归隐不是由于当时黑暗腐败的官场政治，而是基于自身利益考量的、对凶险诡谲宫廷政治斗争的规避，从而为我们还原了一个或许是历史上真实的张养浩。 对于元杂剧兴起的原因，杜为廉突出了蒙元统治者与单一剧作家（关汉卿）的积极作用，而柯润璞则强调其时“飞地”的稳定与繁荣是元杂剧兴起的主要原因；其他学者如马克林、奚如谷、时钟雯等亦从不同角度深化和丰富了对该问题的认识。对于元杂剧的艺术体制，柯润璞与时钟雯从总体上探讨了元杂剧的一般程式和结构特征；而章道犁的元曲曲律、曲谱研究，分析细致、论述形象，系统而全面是其曲谱研究的鲜明特质；杜为廉以悬疑与实证的学术态度探讨了宾白与曲词的创作与关系等问题，但其基于南戏文《张协状元》而作出的“文人创作宾白的时期为元代中晚期”的论断则略显机械而失之于偏颇；以时钟雯为代表的英语世界学者还从不同角度探讨了元杂剧宾白与曲词的特征和功能。元杂剧的作家作品研究内容最为丰富，既有杜为廉、柯润璞、时钟雯等人的总体研究，亦有伊维德与奚如谷的《西厢记》研究、彭镜禧与海登的公案剧研究以及数量较多的相关博士论文等方面的具体研究，他们的研究视域独特、研究内容创新、研究方法多样，无疑进一步地拓展了元杂剧作家作品研究的深度与广度。对于包括剧场、舞台、音乐、演员、表演与观众等方面内容在内的元杂剧戏剧域场，柯润璞通过谨严地考辨大量相关史料、元杂剧文本与戏曲文物、实物，以及细致地文本分析，并运用自身合理的想象，对史上元杂剧的舞台与剧场、演员及表演等方面的元杂剧剧场艺术内容作了系统而翔实的还原与论证；伊维德与奚如谷则探讨了其时戏剧与演员的社会地位；而时钟雯与杜为廉则指出元杂剧音乐作为辅助创设戏剧情境氛围并标识剧情发展的一种手段的主要戏剧功能。有关元杂剧的悲、喜剧之论以及与西方戏剧的比较论，体现出更多的是一种异域的美学关照，它加深了我们对元杂剧的全新认知，也从一定程度上突显了元杂剧的独特性及其作为一种人类戏剧类型的一般特征。社会历史、政治文化与现代传播学视域下的奚如谷、伊维德及夏颂三人的元杂剧研究，则通过对诸如元杂剧版本、文献、传播接受等戏曲史现象的考察，颠覆了传统的元杂剧史观，并令人信服地指出今日之元杂剧乃是后期文人编辑者、官方及出版商等方面共同改写的结果，突显了文本背后的社会政治能量、文化意识形态诸方面的潜在力量；而同一考察视域，石光生则论述了元杂剧的仪式功能，傅鸿础却通过关注元杂剧的社会功能及其与各种文化成分的相互作用，考察了元杂剧的权利和政治；都文伟与杜为廉则考察了元杂剧的历史传播与现代改编等问题。 英语世界的元曲研究，具有时间与地域、研究主体、研究理念、研究内容与方法、研究意义与价值等方面上的总体特征；同时又具有各研究个体的独特特征，就元杂剧研究而言，如杜为廉的悬疑与实证、柯润璞的考辨与想象、奚如谷和伊维德及夏颂三人的批判与重构、章道犁曲律研究的条分缕析与形象性、彭镜禧和海登公案剧研究的剧类考察与戏剧性、时钟雯的文本细读与文学性研究等。通过英语世界与国内元杂剧研究博士论文以及《西厢记》研究的对比研究，呈现了其独特研究视域与方法，即科学实证、逻辑分析，包括形式主义、结构主义、新批评细读、符号学、原型批评、女性主义、心理分析、后殖民主义、新历史主义等在内的各种西方现代文学批评方法的运用以及跨学科、跨文化、中西平行比较研究等，从而彰显了其独特的学术意义与价值。 综而言之，英语世界的元曲传播历史悠久、所涉内容广泛，并在英语世界不同历史时期发挥了十分重要的文化和历史作用；英语世界的元曲研究，则以其丰富各异而又新颖独创的研究内容、科学实证而又多维独特的研究方法，进一步拓展了元曲的内在文学美学蕴涵及外在的文化艺术张力；作为全新的他者，其必将会进一步拓展国内元曲研究的视域、为其生成更多的学术思维与理论资源。有理由相信，通过双方元曲研究的不断深入与发展以及双方间的不断交流与对话，新时期的元曲研究必会达到有效的“互识、互证与互补”，迎来一个多元、互通、繁荣发展的广袤空间

The dissertation’s research object centers on the study of Yuan-chü in the English-speaking world and discusses the general situation of the translation and transmission of Yuan-chü from the 18th century in the English-speaking world. Based on the case study of the well-known experts and their study achievements of Yuan-chü and comprehensive investigation and carding of Ph.D. dissertation of Yuan-chü in the English-speaking world, and through a comparative research with the domestic study of Yuan-chü, the dissertation tries to highlight the characteristics of the study of Yuan-chü in the English-speaking world in the terms of the study contents and methods in order to realize the effective complementarity and integration of the study of Yuan-chü of both sides in the new era. So the dissertation has a very important academic significance and value on the translation study, the history of Chü, Sino-west literary relations and the history of ideas. The translation of Yuan-chü in the English-speaking world began with the translation of Yuan Za-chu:The orphan of Zhao in the UK in the early 18th century. The orphan of Zhao fit the political and cultural context of British society at the early stage of capitalist development organically because of its sorrowful and moving drama plot, mysterious and beautiful exotic atmosphere, and its advocating something that is the forbearing and faithful dedication, the noble and tenacious fighting will, the patriotic beliefs which adhere to the ideals. Later the amateur sinologists were represented by J.F.Davis and Herbert A.Giles promoted the transmission of Yuan Za-chu to a certain extent in the UK, but the British tradition of Sinology which is utilitarian has undoubtedly restricted the transmission of Yuan-chü further in the UK. So only William Dolby’s Yuan-chü study deserves to be researched. The center of Sinology moved to the USA which became a place of strategic importance of the translation and transmission of Yuan-chü in the English-speaking world after the mid-20th century. If the transmission of Yuan-chü in the UK mainly appeared as the translation of Yuan Za-chu previously, then in the USA in this period the transmission of Yuan-chü is characterized by the development of Yuan San-ch’ü and Yuan Za-chu together, paying more attention to study which achieved fruitful research achievements at the same time translation. Their study content is intensive and extensive and study methods is unique and diverse. Geographically speaking, the study of Yuan-chü in the English-speaking world in the 20th century mainly refers to the study of Yuan-chü in the USA, and for historical periods speaking, it is also the flourishing and mature stage in the history of the study of Yuan-chü in the English-speaking world. The quantitative analysis of the status of the writers of Yuan-ch’ü in the English-speaking World indicites that the native scholars and the scholars of ethnic Chinese origin are the backbone of the transmission of Yuan-chü in the English-speaking world, and their excellent Chinese cultural literacy and the deeply approval of Yuan-ch’ü and traditional literary canon altogether with the deeply agreement between the unique theme and art characteristics of Yuan San-ch’ü and the post-war western modern context and the aesthetic characteristics especially contribute to the classic status of the writers of Yuan-ch’ü and their compositions established abroad, mainwhile ensure the consistency of the Chinese and foreign classic status of those writers. It also shows the common aesthetic taste and the humanistic ideal between China and the West. Overall, the scope of translation of Yuan-ch’ü especially Yuan San-ch’ü is narrow as well as the repetition and imbalances of translation in the English-speaking world. Hereafter they must pay more attention to enhance the study intensity at the same time the translation of Yuan-ch’ü. The poet and scholar Wayne Schlepp take Yuan San-ch’ü as an example that the ways in which the Chinese language creates poetic effects. Thinking from "technique and imagery", he focuses on studying the artistic features of Yuan San-ch’ü such as rhyme, rhythm, vowel and consonant, parallelism and repetition, figures of speech, etc. Based on "vowel and consonant patterns", Schlepp’s analysis of unique sound effects shows his excellent analytic ability of language. Kurt W.Radtke and Elleanor H.Crown apply modern western scientific methods including mathematical and logic analysis, charts analysis to comb in detail and summarize systematically the art format of Yuan Xiao-ling and San-tao such as rhythm pattern and song arrangements respectively. As for the theme of Yuan San-ch’ü, J.I.Crump divides the theme of Xiao-ling into four categories: the feeling of boudoir and love, the Taoist feeling and seclusion, the fisher or the woodcutter and pastoral, the mocking and parody; whereas Elleanor H.Crown divides the theme of San-tao into four categories: poetry of emotion, nature poetry, poetry of ideas, topical poetry and others(special poetry and miscellaneous suites). R.J.Lynn devotes himself to collect and make the textual research of the historical materials of the lifetime and writing experiences of Kuan Yun-shih. R.J.Lynn also conducts a detailed analysis of the language of the works of Kuan Yun-shih in terms of allusion, imagery, symbol, diction and expression. Through the re-carding and textual research of historical materials, J.I.Crump points out Zhang Yanghao’s seclusion did not due to the corrupt and dark officialdom at that time but evade the dangerous and unpredictable court political struggle on the grounds of considerations of self-interest, so he perhaps restores a true Zhang Yanghao in the history. William Dolby highlightes the positive role of the Mongol rulers and a single playwright (Guan Hanqing) played in the rise of Yuan Za-chu. J.I.Crump stresses the stability and prosperity of "enclave" is the main reason for the rise of Yuan Za-chu. Other scholars such as Colin Mackerras, Stephen H.West and Chung-wen Shih also deepen and enrich the understanding of this problem from different aspects. For the artistic system of organization of Yuan Za-chu, J.I.Crump and Chung-wen Shih discuss the general characteristics of the conventions and structures of Yuan Za-chu. Dale R.Johnson’s study on prosody and a complete catalogue of Yuan-ch’ü embodies distinctive characteristics that analyse in detail and expound vividly as well as systematic and comprehensive discussion. By the academic attitude that suspense and empirical study, William Dolby explores the creation and relationship of the dialogue and lyric poetry. But his conclusion that the dialogue was created by the literati after the mid-Yuan dynasty seems mechanical and losts in the biased. Chung-wen Shih and orthers as the representative of the scholars in the English-speaking world also explore the characteristics and functions of the dialogue and lyric poetry of Yuan Za-chu from different aspects. The study on the writers and works of Yuan Za-chu has the most abundant contents including the general study that William Dolby and J.I.Crump and Chung-wen Shih carry out and the particular study that on The West Chamber that Wilt L.Idema and Stephen H.West engage in and the courtroom plays that Ching-Hsi Perng and George A.Hayden focus on, and a large number of Ph.D. dissertation of Yuan Za-chu. Their unique study perspective, innovative study content, and various study methods further expand the depth and breadth of the study on the writers and works of Yuan Za-chu undoubtedly. For the drama field of Yuan Za-chu including the theatre, stage, music, actor, performance and audience etc, J.I.Crump restores and verifies the theater art of Yuan Za-chu in the history such as the stage, the theater, the actors and the performance by investigating and discerning a large number of relevant historical materials, the text of Yuan Za-chu, Xi-qu relics and real object, altogether with his detailed textual analysis and rational imagination. Wilt L.Idema and Stephen H.West discuss the social status of Yuan Za-chu and its actors. Chung-wen Shih and William Dolby point out that the main dramatic function of the music of Yuan Za-chu that as a means of creating a dramatic atmosphere and identifying plot development. For the study of Yuan Za-chu based on the theory tragedy and comedy and the comparison with the Western drama embody a foreign aesthetic reflection and deepen our new cognition about Yuan Za-chu, and highlight the uniqueness of Yuan Za-chu and the general characteristics as a type of the human drama. From a academic perspective that society history, politics, culture and modern communication theory, Stephen H.West and Wilt L.Idema and Patricia A.Sieber subvert the traditional history concept of Yuan Za-chu and point out convincingly that today's Yuan Za-chu result from the cooperative rewriting by the later literary editors, publishers and the court by virtue of the investigation of the phenomenon of Xi-qu history such as the editions and document of Yuan Za-chu and its transmission and acceptance, so that highlight the potential power that social and political energy and cultural ideology behind the texts of Yuan Za-chu. From the same academic perspective as above, Kuang-sheng Shih discusses the ritual function of Yuan Za-chu. Hongchu Fu inquires into the power and politics of Yuan Za-chu by means of focusing on the social function of Yuan Za-chu and its interaction with various cultural elements. Wenwei Du and William Dolby examine Yuan Za-chu in terms of the communication in the history and the modern adaptation etc. The study of Yuan-chü in the English-speaking world has the general study characteristics in the terms of time and region, researcher, the study idea, the study content and method, the study significance and value as well as the unique study characteristics of each individual researcher. For the study of Yuan Za-chu, the unique study characteristics is the suspense and empirical study for William Dolby, the investigating and discerning study and imagination for J.I.Crump, the criticism and reconstruction for Stephen H.West and Wilt L.Idema and Patricia A.Sieber, the analysis in detail and vivid expounding for Dale R.Johnson, the study of sub-genre and dramatic nature of Yuan Za-chu for Ching-Hsi Perng and George A.Hayden, and the close reading and the study of literary property of Yuan Za-chu for Chung-wen Shih. By comparing Ph.D. dissertation of Yuan Za-chu and the study of The West Chamber in the English-speaking world with in China, it presents their unique study perspective and study methods, that is scientific empirical study, logical analysis, the application of kinds of the methods of the western modern literary criticism including formalism, structuralism, new criticism peruse, semiotics, archetypal criticism, feminism, psychoanalysis, post-colonialism, new historicism, altogether with the interdisciplinary and cross-cultural study as well as the parallel comparative study between China and the West, so that highlights their unique academic significance and value. To sum up, the transmission of Yuan-ch’ü has a centuries-old history and a wide range of content as well as plays a very important cultural and historical role in the English-speaking world in the different historical periods. The study of Yuan-ch’ü in the English-speaking world further expand the intrinsic literary aesthetic implication and extrinsic cultural and artistic tension by means of the study content which is abundant and varied as well as novel and original and the study methods which is scientific and empirical as well as multidimensional and unique. As a new otherness, it will certainly further expand the study horizon of the domestic academic circles and generate more academic thinking and theoretical resources for them. We have reason to believe that the study of Yuan-ch’ü in the new era must achieve a state of effective "mutual recognition, mutual testification and complementarity" through the further development of the study of Yuan-ch’ü and the continuous communication and dialogue between the two sides,and usher a vast space which is multiple, intercommunicated and flourishing.