达姆罗什认为，世界文学是民族文学的椭圆折射、翻译书写与超然阅读的结果。本文追溯了王维诗歌在英美世界的世界文学地位以及椭圆折射与翻译历程。我们认为，在20世纪50年代，王诗英译文趋于口语化，迎合了美国诗学革新的需求。而后在60—70 年代，其诗歌中的道禅意蕴在美国“逆文化运动”中得到放大和挖掘，同时汉学界笺注性翻译也助推了翻译充分性的实现。当下，译者从荒野哲学和深层生态主义的角度，挖掘并阐发了王诗中的荒野宇宙观，体现了中西生态智慧的会通。这一译介历程表明，王诗自身的艺术文化精神与美国诗学和文化需求，共同对王诗的跨文化传播进行折射并由此产生了种种创译，这使得其诗歌艺术性和文化意蕴得到不断的阐释、辐射与接受，从而成就了其世界文学性翻译诗学特征。

Damrosch defines world literature as an elliptical refraction of national literatures, writing that gains in translation and a mode of detached reading. This article first claims the recognition of WANG Wei's poetry as the world literature in Anglo-American context and then addresses its contextual framing resulting from both classical Chinese poetry and relevant American subcultures and the subsequent translational gains. The study tentatively elucidates that in the 1950s his poetry were firstly domesticated in form to meet with the need for the poetological modernization; In the 1960-70s, the Chan/ Dao implications in his poetry were reproduced to echo the cultural needs of the counter-culture movements and the sinologists were also actively engaged in source-text oriented transcreating; At the moment, the transcreations have been elliptically refracted by the Chinese wilderness cosmology and the Western deep ecology. It is concluded that distinctively contextual and cross-cultural reproductions have been refracted by both WANG Wei’ poetic consciousness and American cultural needs. And this would make the poetic features and cultural implications of the transcreations to be readily resonated and disseminated in the host culture, thus constantly being read and interpreted as world literature.