回溯图画书发展的历史，诗歌图画书在开端就占据了颇为重要的位置——伦道夫·凯迪克为滑稽叙事诗而作的《吉平骑马歌》，往往被视为图画书的雏形，也即图画参与叙事的开端，并由此留下了蜚声国际的凯迪克图画书奖奖章图案。而梳理图画书发展脉络中的精品会发现，被视为小众的诗歌图画书屡屡斩获国际大奖，名家、名作辈出。直面当下，国内诗歌图画书方兴未艾，以童谣、民谣图画书为主力，充分挖掘传统优势资源，主动探索民间资源的利用和转化，体现出对传统文化进行现代转换的自觉追求。而要打造满足儿童多元化阅读需求的当代诗歌图画书，拓宽国内诗歌图画书的讲述题材和呈现可能，实现整体质量的稳步提升，就需要内外兼修的向度合力——既向内回溯，开采中华优秀传统文化的创作富矿，又向外拓宽，积极汲取海外的优秀创作经验。新世纪以来，相较国内发展历史更长，累积作品数量更为充沛的外国诗歌图画书多被引入，和植根本土的国内歌谣图画书一起，在亲子阅读、课堂教学中广受青睐，被视为儿童学习诗文、体味诗情诗意的重要文本。
需要明确的是，诗歌图画书并非两类文学体裁的简单叠加，而是近似浑融状态——“诗歌”和“图画”都兼任内容讲述与形式呈现的功能，在“图X文”的叙事空间中进一步迈向“图X诗”“图X诗X故事”，在诗文和图画的交互融合中生发出诗性、诗意和诗情。
本论文以外国诗歌图画书为研究对象，探寻此类图画书叙事表达的本质特征，并在其被引入中文语境后进一步思考：如何借助译介在跨文化背景下达成图文合奏的诗情诗意传递。全文共分为六个部分：
绪论部分概述选题缘起、界定研究对象、梳理国内外研究情况。
第一章对外国诗歌图画书引进国内后的出版现状加以梳理。借助国别和语种、叙事内容两个维度，对引进的外国诗歌图画书进行分类和归纳，以“面”的铺展概观外国诗歌图画书呈现出的多元文化和丰富叙事蕴涵。并在此基础上关照相关图画书的译介状态，借由对译介人员组成和翻译完整度的梳理，明确相关译介人员中缺少稳定、可持续的专业力量；译本多以全文翻译替换为主，少部分诗文高度参与视觉叙事，图文难以分割，译文被单独辑录尾页。
第二章侧重外国诗歌图画书的文字叙事，着意探讨诗歌何以成为图画书、什么样的诗歌能被改编为图画书，成为图画书文字组成部分的诗歌叙事状态有何变化。拟将相关诗文就“出身”是否为图画书文字进行划分讨论，也即“作为图画书创作资源的诗歌”和“作为图画书文字写就的诗歌”，并借由“图画书中诗歌文字的叙事状态”的讨论，关注从独立成篇诗歌到作为图画书叙事组成的诗文，经历的删改调整、节奏变化及“图像化”排版。
第三章侧重外国诗歌图画书的图画叙事，着意探究图画书何以成就诗歌，图画与诗文互动生成的图文关系如何传递诗情诗意，图画书基于物质性特征的整体叙事又如何为诗意体验增益。拟结合具体文本，就外国诗歌图画书呈现出的“说明”“留白”和“过量”的图画叙事特征，及“重复”“复调”和“对抗”的图文关系进行探讨，并关注独特的书籍制作材料及装帧设计何以进一步打开立体多维度的诗意空间。
第四章侧重外国诗歌图画书译介策略的思考与讨论，重审被引入中文语境后的相关文本。基于诗歌和图画书文字特质，关照相关文本如何在图画书图文合奏构建的情境和语境中弥合文化壁垒，兼及讨论在语言系统之外与翻译相关的其他领域。
最后为结语部分。

Looking back at the history of picture book development, poetry and painting books have occupied a rather important position since the beginning. “The diverting history of John Gilpin” by Randolph Caldecott, which was written for comic narrative poems, is often regarded as the prototype of picture books, marking the beginning of pictures involved in storytelling and leaving behind the internationally renowned Caldecott Medal design. When reviewing the outstanding works in the development of picture books, we can find that poetry and painting books, once considered to be niche, have repeatedly won international awards, producing renowned artists and masterpieces.Facing the present, poetry picture book in China are thriving, with nursery rhymes and folk songs as the main focus, fully tapping into traditional advantageous resources, actively exploring the use and transformation of folk resources, and reflecting the conscious pursuit of modern transformation of traditional culture. To create contemporary song and rhyme picture book that meet the diverse reading needs of children, broaden the storytelling themes and presentation possibilities of Chinese poetry picture book, and steadily improve overall quality, a joint effort is needed both internally and externally - not only to look back and tap into the rich creative resources of excellent traditional Chinese culture, but also to expand outward and actively draw on the excellent creative experiences of overseas works. Since the beginning of the new century, foreign poetry picture book with a longer development history and more abundant accumulated works have been introduced, and have been widely favored in parent-child reading and classroom teaching together with domestically rooted song and rhyme picture book, and are regarded as important texts for children to learn about poetry and appreciate its emotions and meanings.
It should be emphasized that poetry and painting books are not simply a combination of two literary genres, but rather a near-harmonious state. “Poetry” and “picture book” both serve the functions of content narration and form presentation. In the narrative space of “pictures and text,” they further move towards “pictures x poetry” and “pictures x poetry x story,” giving rise to poetic qualities, meanings, and emotions through the interaction and integration of poetry and painting.
This paper takes foreign poetry picture book as the research object, explores the essential characteristics of narrative expression in this type of picture book, and further considers how to use translation to achieve the transmission of poetic sentiments and meanings in a cross-cultural context after they are introduced into the Chinese language context. The paper is divided into six parts in total.
Introduction section outlines the origins of the selected topic, defines the research object, and reviews the domestic and foreign research situation.
 Chapter 1 comprehensively reviews the current publishing status of foreign poetry and picture book introduced into China. Using the dimensions of country and language, as well as narrative content, the foreign poetry and picture book are classified and summarized. By presenting a panoramic view of the multiple cultures and rich narrative content portrayed in foreign poetry and picture book, the study sheds light on the translation status of the relevant picture book. Through an analysis of the composition of translation personnel and the completeness of translation, it is clear that there is a lack of stable and sustainable professional expertise among translation personnel. Additionally, most translations replace the entire text and only a small portion of the poems are highly involved in visual narrative. The text and images are difficult to separate and the translated text is included as a separate appendix.
Chapter 2 focuses on the textual narrative of foreign poetry picture book, specifically exploring how poetry becomes a picture book, what kinds of poetry can be adapted into a picture book, and how the narrative state of poetry as a component of picture book text changes. The relevant poems will be divided and discussed based on whether they are originally from a picture book or written specifically for a picture book. Through the discussion of the “narrative status of poetic text in picture book,” this chapter pays attention to the editing, adjustment, rhythm changes, and “visualized” layout experienced by poetry as it transitions from an independent poem to a component of the narrative structure of a picture book.
Chapter 3 focuses on the visual narrative of foreign poetry picture book, and aims to explore how picture book achieve poetry, how the interaction between pictures and words conveys poetic sentiments and meanings, and how the overall narrative based on material characteristics of picture book enhances the experience of poetic meaning. By combining specific texts, this chapter will discuss the visual narrative features of “explanation”, “blank space” and “excess”, as well as the graphic-textual relationships of “repetition”, “polyphony” and “confrontation” presented in foreign poetry picture book. Moreover, the unique book binding materials and design will be examined to further open up a multi-dimensional poetic space.
Chapter 4 focuses on the observation and contemplation of translation strategies for foreign poetry and picture book, re-evaluating the relevant texts after being introduced into the Chinese context. Based on the characteristics of poetry and picture book texts, the study examines how relevant texts can bridge cultural barriers in the context and language constructed by the combination of text and image in picture book. Additionally, the study discusses other fields related to translation outside of the language system. 
The conclusion summarizes all chapters and draws conclusions.