自中华人民共和国成立以来，中外学者与文艺工作者的共同努力推动了中国文学逐步走向世界舞台，并日益扩大其国际影响力。在意大利等国度，中国文学的翻译与传播工作自上世纪50年代后半叶开始逐渐展开。然而，至今尚缺乏对中国现当代诗歌在意大利翻译与传播情况的全面且专项研究。鉴于此，本博士论文通过文献研究、量化分析、经验研究、文化研究、文本细读以及比较研究等多种方法，深入探究了中国现当代诗歌在意大利的翻译与传播历程。

本研究考量了历史、政治、文化等多维因素，并结合诗人与译者的个人经历与偏好，对出版社、期刊和互联网等主要传播渠道进行了详尽的调查，进而分析了从50年代末至70年代末、80年代初至90年代末以及新世纪初至今三个主要阶段中国现当代诗歌在意大利的翻译与发表趋势。

从进入意大利开始，中国现当代诗歌就面临着“双重边缘化”的境地。一方面，诗歌作为文学体裁在意大利自上世纪起便陷入困境，读者群体相对较小；另一方面，70年代末至80年代初，随着意大利新汉学的“现代转折”，中国现当代诗歌的翻译与介绍开始受到汉学家兼译者的关注，但由于文学翻译特别是诗歌翻译并非新汉学的主流研究方向，因此相关的传播机构与媒介并未给予足够的重视。尽管如此，中国现当代诗歌仍逐渐突破汉学领域的局限，进入意大利的非汉学领域，主要得益于非汉学期刊的助力，这些期刊多由渴望与中国进行诗歌对话的意大利诗人和知识分子创办。

进入新世纪后，以书籍形式翻译成意大利文的中国现当代诗歌数量有所增加，而传统纸质期刊在传播中国现当代诗歌方面的作用逐渐减弱。随着网络的发展，通过网络向年轻且不熟悉该领域的受众传播中国现当代诗歌成为新趋势，被视为一种直接有效的传播方式。

与小说相比，中国现当代诗歌在意大利作为小众体裁，较少受到市场消费压力的影响。出版诗歌的出版社，尤其是出版中国诗歌的出版社，多为小型独立出版社，它们更注重文学价值而非利润，致力于将优秀诗歌作品介绍给热爱诗歌的意大利读者。因此，编辑通常依赖汉学家译者对中国诗歌的深入理解，并支持他们在翻译和介绍作品时的选择。除了上世纪50-70年代由于政治意识形态的原因毛泽东诗词被翻译传播到意大利之外，在一般情况下，翻译选择往往受译者个人喜好、诗人历史背景及国内声誉等因素影响，导致中国现当代诗歌在意大利的翻译与传播呈现不均衡态势。实际上，意大利更倾向于介绍当代汉族男性诗人的作品，而现代、少数民族、港澳台及女性诗人的作品则相对较少被介绍。

本文最后一章以在意大利被翻译最多的四位中国现当代诗人——艾青、北岛、杨炼与吉狄马加为例，详细分析了他们诗歌作品在意大利的翻译与接受情况。通过比较不同译者在不同时间从中文到意大利文或从英文到意大利文的翻译版本，本研究从诗歌形式、声音、内容三个方面探讨了从原文到译文的文化再现与转变过程，旨在揭示中国现当代诗歌在意大利翻译实践的演变。

随着翻译者对中国语言和文化的深入了解以及与诗人的友好交流，中国现当代诗歌在意大利的翻译实践逐渐从非专业且倾向于本土化的方式转向更为专业的翻译，更注重保持文本的原汁原味。然而，如何在保持原作忠实性的同时避免陷入逐字翻译的陷阱，仍是翻译者面临的挑战之一。

综上所述，本研究详细揭示了中国现当代诗歌在意大利翻译与传播过程中面临的挑战与潜力。尽管近年来取得了一定进展，但仍需中意两国机构的进一步合作以促进其传播。随着中国现当代诗歌译本数量的增加和网络的普及，其在意大利的翻译与传播面临着更广阔的机遇。这一趋势预示着未来将有更多进展，本研究期望引起意大利汉学家和译者的关注，特别是对中国诗歌翻译不均衡现象的思考，同时激发中国学者对中国现当代诗歌在意大利等其他国家传播的关注，以促进中国诗歌在全球诗歌领域的地位提升与文学间的对话交流。

Since the founding of the People's Republic of China, through the unwavering efforts of foreign sinologists and Chinese literary circles, Chinese literature has gradually made its way to the international stage and expanded its global influence. In Italy and other countries, the translation and dissemination of Chinese literature have gradually unfolded since the latter half of the 1950s. However, up to now there has been no comprehensive and specialized study focusing on the translation and dissemination of modern and contemporary Chinese poetry in Italy. Therefore, this doctoral dissertation delves into the translation and dissemination of modern and contemporary Chinese poetry in Italy through a combination of methods including literature research, quantitative analysis, empirical studies, cultural studies, textual analysis, and comparative studies.

This research considers historical, political, and cultural factors as well as the personal experiences and preferences of poets and translators. It conducts a thorough investigation of major dissemination channels such as publishers, periodicals, and the Internet, analyzing the trends in the publication and translation of modern and contemporary Chinese poetry in Italy from the late 1950s to the late 1970s, the early 1980s to the late 1990s, and the beginning of the new century up to the present.

Since its introduction to Italy, modern and contemporary Chinese poetry has faced the situation of “double marginalization”. On one hand, poetry as a literary genre has been in a crisis in Italy since the last century, with a relatively small reader base. On the other hand, with the “modern turn” of Italian sinology in the late 1970s and early 1980s, the translation and introduction of modern and contemporary Chinese poetry began to attract the attention of sinologists and translators. However, as literary translation, especially poetry translation, is not a mainstream research direction in Italian sinology, relevant dissemination institutions and media have not given sufficient attention. Despite this, modern and contemporary Chinese poetry gradually broke through the limitations of the sinology field and entered the non-sinology field in Italy, mainly due to the support of non-specialized sinology journals founded by Italian poets and intellectuals eager to engage in poetic dialogue with China.

Entering the new century, the number of modern and contemporary Chinese poetry translations into Italian in book form has increased, while the role of traditional print journals in disseminating Chinese poetry has gradually diminished. With the development of the Internet, disseminating modern and contemporary Chinese poetry to young and unfamiliar audiences through online platforms has become a new trend, regarded as a direct and effective mode of communication.

Compared to fiction, modern and contemporary Chinese poetry in Italy, as a niche genre, is less influenced by market consumption pressure. Publishers that publish poetry, especially those that publish Chinese poetry, are mostly small independent publishers that prioritize literary value rather than profit, introducing outstanding poetic works to Italian readers who love poetry. Therefore, editors often rely on sinologist translators' deep understanding of Chinese poetry and support their choices in translating and introducing works. Apart from the translation and dissemination of Mao Zedong's poetry to Italy in the 1950s-1970s due to political ideological reasons, in general, translation choices are often influenced by factors such as the translator's personal preferences, the poet's historical background, and domestic reputation, leading to an uneven translation and dissemination of modern and contemporary Chinese poetry. Italy tends to introduce more works by contemporary Han Chinese male poets, while works by modern, ethnic minorities, Hong Kong, Macao, Taiwan, and female poets are less introduced.

The final chapter of this dissertation takes four modern and contemporary Chinese poets, Ai Qing, Bei Dao, Yang Lian, and Jidi Majia, whose works have been translated the most in Italy, as examples to explore the translation and reception of their poetic works in Italy. By comparing different translations from Chinese to Italian or from English to Italian by different translators at different times, this study examines the cultural reproduction and transformation from the original text to the translation in terms of poetic form, sound, and content, aiming to reveal the evolution of translation practices of modern and contemporary Chinese poetry in Italy over time.

With translators' deepening understanding of the Chinese language and culture and their friendly relationships with poets, the translation practices of modern and contemporary Chinese poetry in Italy have gradually shifted from non-professional and localized approaches to more professional translations that prioritize maintaining the original quality of the text. However, maintaining the fidelity of the original work while avoiding the trap of literal translation remains a challenge for translators.

In summary, this study has revealed in detail the challenges and potential faced by modern and contemporary Chinese poetry in the process of translation and dissemination in Italy. Although some progress has been made in recent years, further cooperation between Chinese and Italian institutions is still needed to promote its dissemination. With the increase in the number of translations and the popularity of the Internet, modern and contemporary Chinese poetry is facing broader opportunities for translation and dissemination in Italy. This trend indicates that there will be more progress in the future. This study hopes to attract the attention of Italian sinologists and translators, especially the reflection on the imbalance in the translation of Chinese poetry, and to stimulate Chinese scholars' attention to the dissemination of modern and contemporary Chinese poetry in other countries such as Italy, to promote the status of Chinese poetry in the global poetry field and promote dialogue and exchange between literature.