AbstractWiththeflourishingdevelopmentofcontemporarywesterntranslationtheories,varioustranslationtheoriesaredevelopinginthecollisionandfusion.Itprovidesanewperspectivefortranslationresearch.Thetheoryofreceptionaestheticsisanewtheory,whichemphasizesthesubjectivestatusandpositiveroleofthereaderandrequirestheauthortoconsidertheexpectationvisionofthetargetreaderwhencreatingliteraryworks.Whenappliedtothetranslationofchildren’sliterature,translatorsarerequiredtoconsidertheacceptancelevelofchildren’sreaderssoastoavoidreadingbarriers.Thispaperaimstodiscusstheguidingsignificanceofreceptionaestheticstochildren’sliterarytranslationthroughthestudyofAlice’sadventuresinWonderlandinZhaoYuanren’stranslation.Thispaperisdividedintofivechapters.Thefirstchapteristheintroduction,includingthebackground,significanceandresearchissues.Thesecondchapterisaliteraturereview,whichsummarizesthepreviousstudiesofchildren'sliteratureandtheChinesetranslationofAlice’sAdventuresinWonderland.Thethirdchapterandfourthchaptergivethetheoreticalframeworkofthispaperandexplorethetranslationofchildren’sliteraturefromtheperspectiveofReceptionAesthetic.ThispaperattemptstointegrateReceptionAesthetictheoryofthetranslationofchildren’sliteratureandtrytosolvethetranslationproblem.ChapterFiveisacasestudy,whichmakesapreliminaryanalysisoftheChineseversionsofAlice’sadventuresinWonderlandfromtheperspectivesofReceptionAesthetic.Throughanalysis,wecanconcludethatagoodtranslationofchildren’sliteratureshouldbeawareoftherecipient.Facedwithculturalfactors,Translatorsshouldtrytheirbesttoadoptdomesticationasthemainstrategyandforeignizationasasupplementtotranslationpractice.Itcanensurethesmoothandpleasantreadingandunderstandingofchildren’sreaders.ChapterSixpresentsthelimitationsofreceptionaestheticsintranslation.AndthelastchapterThelastchapterconcludes.Keywords:Alice’sadventuresinWonderland;ReceptionAesthetic;Children’sliterature

摘要步入現(xiàn)代，各國經(jīng)濟文化發(fā)展繁榮。西方的各種翻譯理論也在此時蓬勃發(fā)展，呈現(xiàn)出百花齊放的局面，為翻譯研究提供了新的視角。接受美學(xué)理論是一種強調(diào)讀者地位和積極作用的新理論。它要求作者在創(chuàng)作文學(xué)作品時，要考慮目標讀者的期待視野。在兒童文學(xué)翻譯中，要求譯者以兒童為中心，了解兒童的知識接受程度，避免閱讀困難。本文通過對趙元任譯本的Alice’sadventuresinWonderland的研究，探討接受美學(xué)對兒童文學(xué)翻譯的指導(dǎo)意義。本文分為七章章。第一章是緒論，包括論文的意義、研究問題和結(jié)構(gòu)。第二章是文獻綜述，總結(jié)了前人對兒童文學(xué)和《愛麗絲夢游仙境》的中文譯本的研究。第三章和第四章給出了本文的理論框架，從接受美學(xué)的角度探討兒童文學(xué)的翻譯。本文試圖將接受美學(xué)融入兒童文學(xué)翻譯中，試圖解決兒童文學(xué)翻譯的問題。第五章是個案研究，從接受美學(xué)的角度對中國版《愛麗絲夢游仙境》作了初步分析。通過分析，得出結(jié)論：一個好的兒童文學(xué)翻譯應(yīng)該了解接受者。面對文化因素，譯者應(yīng)盡量采用歸化為首要策略，異化為翻譯實踐的補充。它能保證兒童讀者的順利、愉快的閱讀和理解。第六章闡述了接受美學(xué)在翻譯中的局限性，最后一章得出結(jié)論。關(guān)鍵詞：愛麗絲夢游仙境；接受美學(xué)；兒童文學(xué)

ContentsAcknowledgements 錯誤!未定義書簽。Abstract 1I.Introduction 51.1ResearchBackground 51.2SignificanceoftheStudy 51.3ResearchQuestions 5II.LiteratureReview 82.1PreviousstudyofChildren’sliterature 82.1.1studiesonchildren’sliteraturetranslationinchinaandwesternworld 82.2PreviousstudiesofthetranslationontheChineseversionofAlice’sAdventuresinWonderland 9III.Studiesonreceptionaesthetics 113.1Definitionofreceptionaesthetics 113.1.1appealingstructures 錯誤!未定義書簽。3.1.2horizonofexpectations 11IV.StudiesonChildren’sLiterature 134.1Children’sLiterature 134.1.1thedefinitionofchildren’sliterature 13V.ForReceptionAestheticsintheTranslationofAlice’sAdventuresinWonderland 145.1UsingReceptionAestheticsintheEnglish-ChinesetranslationofAlice’sAdventuresinWonderland 145.1.1linguisticlevels 145.1.2culturelevel 155.2RemarkableeffectsofapplyingthetheoriesReceptionAestheticstoEnglish-ChinesetranslationofAlice’sAdventuresinWonderland 175.2.1simpleandvivid 175.2.2languagewithChinesecharacteristics 18VI.SuggestionsfortheTranslationofAlice’sAdventuresinWonderlandbasedonReceptionAesthetics 19VII.Conclusion 21References 22

I.IntroductionBasedonreceptionaesthetics,thispapertakesZhaoYuanren’sChineseversionofAlice’sadventuresinWonderlandasanexample,andcombinessometypicalexamplesofothers’versiontotrytosummarizethetranslationstrategiesofchildren’sliterature.Inthispart,theauthorwillmakeageneralexpositionoftheresearchbackground,significanceandquestionsofthepaper.1.1ResearchBackgroundInChina,theterm“children’sliterature”begantoappearanddevelopduringtheMay4thMovement.However,itwasnotuntilthe1980sthatchildren’sliteratureenteredthestageofvigorousdevelopment,andtheunderstandingandresearchofchildren’sliteratureinothercountrieswasmuchearlierthaninChina.Intoday’smarket,mostfamouschildren’sbooksaretranslatedfromforeigncountries.However,children’sliteraturehasalwaysbeenattheedgeoftheliteraryfield,andthetranslationofchildren’sliteraturehasnotbeenpaidattentiontoforalongtime.Childrenareaspecialgroup.Thetranslationofchildren’sliteraryworksshouldbedifferentfromotherliteraryworks.TakingChineseversionsofAlice’sadventuresinWonderlandtranslatedbyZhaoYuanrenasexample,thispaperexploresthepossibilityoftheapplicationofreceptionaestheticsintranslationofchildren’sliterature.1.2SignificanceoftheStudyAlice'sadventureinWonderlandisafamouschildren'snovelwrittenbyLewisCarroll.Sinceitspublicationof1865,Ithasbeenextremelypopularwiththefieldofchildren’sliterature.Sofar,ithasbeentranslatedintomorethan100languages.BritishliteraryhistoriansbelievethatLewisCarrollhascreatedanewbreedofFairyTales——children’sfantasyfiction.Thepublicationofhisworkhasepoch-makingsignificance.Manycriticscallit“thefatherofmodernfairytales”.Theauthoruseshumorouslanguagetodescribeapeculiarworldinhisimagination,whichattractstheattentiontocountlessreadersallovertheworld.Althoughthebookhasbeenwrittenforalongtime,itstillattractsmanyscholarstostudyit,notonlyfortheanalysisoftheoriginaltext,butalsoforthestudyofitstranslation.Therefore,takingthisnovelastheobjectofstudyisofgreatsignificancetothestudyofchildren'sliteraturetranslation.However,theresearchontranslationofchildren’sliteratureisnotbalancedintheoryandpractice.Manyscholarshavestudieditfromvariousperspectives,suchasfunctionalequivalence,pragmatics,socialsemioticsandsoon.Fromthispointofview,thereisanurgentneedforanewperspectivetoconductacomprehensivestudyofthetranslationofchildren’sliterature.Therefore,inthispaper,theauthorattemptstoadoptanewperspective——receptionaestheticstostudythetranslationstrategiesofchildren’sliterature.Itishopedthatthispaperwillhelpattracttheattentiononrelevantscholarstothetranslationofchildren’sliteraturefromanewperspective.Thispaperintroducesreceptionaestheticsintothetranslationofchildren’sliterature,attachesgreatimportanceofchildren’sinitiativeinreading,andenableschildrentointegratereadingwithworks,soastobetterunderstandworks.Intheprocessoftranslation,thetranslatoristhereaderoftheoriginaltext.However,intheprocessoftranslation,thetranslatorshouldcomprehendtheworksaccordingtohisownaestheticexperience,andchoosethewayofexpressionthatconformstochildren’slogicandcomprehensionabilitytotranslatetheworks.Atthesametime,intheprocessoftranslation,weshouldalsotakeintoaccounttheactualsituationofChina,soastoavoidthetranslationofworksdifficulttounderstand,affectingchildren’sreadinginterestandenthusiasm.1.3ResearchQuestionsThispapermainlyusesZhaoYueren'stranslationofAliceinWonderland,andcombinessometypicalexamplesofotherversions.FromtheperspectiveofReceptionAesthetic,thisarticleattemptstoaddressthefollowingissues:1)Howdoesreceptionaestheticsguidethetranslationofchildren'sliterature?2)Whatproblemshavebeensolvedinthetranslationofchildren'sliteraturebythetheoryofreceptionaesthetics?3)Comparedwithothertranslationtheories,whataretheadvantagesofreceptionaesthetics?

II.LiteratureReview2.1PreviousstudyofChildren’sliteratureSincethereformandopeningup,theresearchonchildren’sliteratureathomeandabroadhasdevelopedrapidly,showingavarietyofresearchestrends.Thispartmainlyreviewsthestudyofchildren'sliteratureathomeandabroad.2.1.1studiesonchildren’sliteraturetranslationinchinaandwesternworldAfterenteringthe21stcentury,bothliteraryresearchersandtranslatorshaveparticipatedinthestudyofchildren'sliterarytranslation,usheringinapeakperiodofdevelopment.Manypapersonthetranslationofchildren'sliteraturehavebeenpublishedininternationalauthoritativejournals,andtheresearchscopeisverywide.Itmainlyincludesthestudyofpluralismandthetranslationofchildren'sliterature,thestudyofthetranslationhistoryofchildren'sliteratureinvariouscountries,thestudyofthephenomenonof"deviationfromtheoriginaltext"intranslation,translationofchildren'sliterature,ideologyandpublishingreview,etc.ThetranslationofChinesechildren'sliteraturebeganinthelateQingDynasty.DuringtheMay4thMovement,the"child-centeredtheory"and"realismtheory"wereproposed.The1980sand1990shaswitnessedtheboomoftranslationofchildren'sliterature.Itgrowsfastandgainsthemostachievements.TheyarealsothemostimportanttransitionperiodinthehistoryofthedevelopmentofChinesechildren'sliterature.Duringthisperiod,theconceptoftranslationbegantoturnto"children-oriented",believingthatchildren'sliteraturecanevenviolatetheauthenticrulesofgeneralliterature,aslongasbeautifulworkswillbevaluedandlovedbychildren.Translatorsseektointroduceforeignexcellentchildren'sliteratureworkstoChinabyusinglanguagethatisclosetochildren'sreallifeandlivingconditions,children'saestheticconsciousnessandreadingacceptancepsychology,soastomakechildren'sliteraturereallymovetowardschildren.Atpresent,therearethreekindsofstudiesofchildren'sliteraturetranslation.Thefirstistostudychildren'sliteraturefromahistoricalpointofview;thesecondoneisthestudyofchildren'sliteraturetranslation;andthethirdisthecasestudyofindividualtranslationstrategiesandtechniques.Thedomesticresearchonthetranslationofchildren'sliteraturemainlyfocusesonthefollowingaspects:theoverallstudyofchildren'sliteraturetranslation,thestudyofthehistoryofchildren'sliteraturetranslation,andthediscussionofchildren'sliteraturetranslationfromamulti-disciplinaryperspective.2.2PreviousstudiesofthetranslationontheChineseversionofAlice’sAdventuresinWonderlandInthecourseofitscirculationofnearly150years,thebookhasbeenconstantlyre-readandre-interpretedbyreadersofdifferenttimesandcountries(includingcriticsinabroadsense).Scholarsofallschooltrytoapproachitfromdifferentangles.In2007,ChenLijiaoconcludedfromherpublishedarticlesthatthetranslationsofZhaoYuanrenandWuJuntaohavedifferenttargetreadersandtranslationpurposes.Alsoin2007,TongMuusedNida’sfunctionalequivalencetheorytostudyZhaoYuanren’sversionofAliceinWonderland.Theauthorstartedwithwords,sentencesandtextsinordertounderstandhowthegreattranslatorachievedtheclosestandmostnaturalfunctionalequivalenceintheprocessoftranslation.In2009,RenHuifangcametotheconclusionthatSkopostheorieisthetheoreticalbasisoftranslation.Translator-orientedadjustmentshouldbemadetocatertotheneedsoftargetreaderssoastoachievemoresatisfactoryresults.In2007,ZhangLuyanstudiedthetranslationofchildren’sliteraturefromtheperspectiveofreceptionaesthetics.Shebelievedthatexploringthetranslationofchildren’sliteraturewouldhelptobetterunderstandhumannorms.Shealsopointsoutthatalthoughreceptionaestheticsisveryhelpfulforthestudyoftranslationofchildren’sliterature,ithasitsownlimitations.Fromtheperspectiveofreceptionaesthetics,ZhangXiaoyuconcludesthatreadersplayavitalroleintheprocessoftranslation.Accordingtoreceptionaesthetics,whetheraworkcanbesuccessfullyacceptedtodependontargetreaders.

III.StudiesonreceptionaestheticsReceptionaesthetics,alsoknownas“AcceptanceTheory”,isareader-centeredtheoreticalsystemtoexplainvariousliteraryphenomena.3.1DefinitionofreceptionaestheticsReceptionaestheticsbegantoemergefromtheearly1970s.Withitsenrichment,ithasdevelopedintoanimportantschoolofliterarytheoryofGermany.Overthenexttenyears,receptionaestheticsemerged,crossednationalboundaries,andspreadtoWesternEuropeancountries.Receptionaesthetics,isrepresentedbyJaussandIser.Thefocusonthistheoryhasshiftedfromthecentralpositionofthetexttothecentralpositionofthereader,mainlyfocusingontheacceptanceofliterature,thestudyofthereader'sperspectiveandthestudyofinfluence.Receptionaestheticsholdsthattheworkscreatedbynoonetoreadareonlyasemi-finishedproduct,andtheexistenceofanyliterarytextitselfismeaningless.Thesignificanceitcarriesthatneedsreaderstoreadtheworks,findoutthehiddenmeaningoftheworkswiththeirownfeelings,knowledgeandexperience,fillthegapsbetweentheworks,andfinallybecomeacompletework.Thereaderisactiveinthisprocessandisamotiveforcetopromoteliterarycreation.Theacceptanceofliteratureisnotonlyrestrictedbythenatureofthework,butalsobythereader.Duetothedifferentpre-structureofreaders’understanding,theinterpretationofworksisnaturallydifferent,whichiswhythereisthesayingthatthereisathousandHamletintheeyesofathousandreaders.3.1.1appealingstructuresInIser’sview,thetextitselfhasindeteminacy,becausethetextismulti-level.Itisfullofuncertainty.Theyarethepremiseforreaderstoplaytheirsubjectivity.Themeaningofthearticledependsontheparticipationofreaders.Whenreadingawork,thereaderwillconstantlymakeexpectations,predictionsandjudgmentsabouttheunfoldingoftheparagraphandthepresentationoftheplot.Andaccordingtotheirownreadingexperienceandtherevelationofcontextinthetext,fillintheuncertaintyinthetext,soastorealizethepotentialaestheticvalue.Inanycase,theuncertaintyandblanknessoftheworkcanenablethereadertoconnecttheworkwithhisownexperienceandimaginationoftheworld,thusgeneratingameaningfulgenerationandreflection.Iserpointedoutthatliterarytextsconstantlystimulatereaders’readingexpectationsonthebasisofexistinghorizons.Andtheyarestimulatedtobreakit,toenablereaderstogainnewhorizons,andtostimulatereaderstofillgapsandconnectgaps.Here,theattractionofreadingisnottheexternalityofthetext,butthestructuralcharacteristicsofthetextitself.Toacertainextent,onthepremiseofensuringtheunderstandingofinformation,thegreatertheuncertaintyandgapcontainedintheworks,thedeeperthereaders’understanding,imaginationandappreciationoftheoriginalworks.3.1.2horizonofexpectationsThekeywordofJausstheoryis“horizonofexpectation”.Itreferstothethinkingorientationsandinnatestructuresreadersdevelopingfromtheirliteraturereadingexperiencewhenreadingapieceofliteraturearticle,“Horizonofexpectation”includespeoplesviewsandvalues,moralsentiments,aesthetictaste,atthesametimecoveringpeople’sIntuitionabilityandreceptivenessability(Jauss,HuoGrabber,1987,p6-8).Withexpectation,readersgointotheirreading,duringwhichanewtextistakingshape,andduringwhichreadersmodifyorchangetheirhorizonoftheexpectationfromtheoriginalworks.Consideredasthepremiseofreaders’understandingandinterpretingtheoriginalworksstands,viewpointsandmethods,“horizonofexpectation”playsadecisiveroleintextinterpretation.Differentreadershavedifferenthorizonsofexpectation.Asaresult,thediversityofhorizonsbringsvariousinterpretations.

IV.StudiesonChildren’sLiterature Itwasnotuntilthefifteenthcenturythatpeoplerealizedthatchildrenalsoneededformaleducation.Anditwasnotuntilthe19thcenturythateducatorsrealizedthatchildrenofdifferentagesshouldbeseparatedfromeducation,andshouldbedividedintodifferentlearninggroupsaccordingtotheirage.4.1Children’sLiterature4.1.1thedefinitionofchildren’sliteratureChildrenandadultsperceivetheworlddifferently.Adultsaregoodatthinkingandcommunicating.Astimegoeson,theirsensesgraduallybecomepassive.Children'sknowledgereservesandabilitiesarelimited.Theyexperiencetheworldwithunbiasedvisionandrichimagination.Forthem,theworldisopenandthereisnopreconceivedideologythatbindsthem.AccordingtoImmel,children,accordingtotheirageanddevelopmentstage,havethefollowingfourcharacteristics:1)theyhaven'tmasteredtheirmothertongue;2)theyhaven'tfullyunderstoodtheliteraryparadigm;3)theylacktheunderstandingofreferenceknowledge;4)andtheyhavelimitedabilitytounderstandforeignknowledge.Itisbelievedthatchildren'sreadershavethreemaincharacteristics:1)lackofworldknowledge;2)lackoflifeexperienceandlanguageskills;3)havenotbeenfullydeveloped.Therefore,children’sliterarycreationshouldfullyconsiderthefactorsofchildren'seducationallevelandpsychologicaldevelopment,soastobettermeettheneedsandaspirationsofchildren’sreaders.Childrenreaderspaymoreattentiontointuitivefeelingswhentheyappreciateliteraryworks,andaremoreinterestedindescribingcolors,soundsandshapes.Whentranslating,translatorsshouldstandinthepositionofchildrenreaders,makepositiveanddynamicadaptationtothecontextandlanguagestructureoftheoriginallanguage,makethelanguageeasytounderstand,vivid,pureandfullofchildlikeinterest.Onlyinthiswaycanourtranslatedworksbelovedbychildren.

V.ForReceptionAestheticsintheTranslationofAlice’sAdventuresinWonderlandAsmentionedabove,theapplicationofreceptionaestheticsinchildren’sliteraturetranslationismainlyembodiedinthreeaspects:subjectivityofreaders,expectationhorizon,appealingstructure.Translatorsshouldfullyconsidertheexpectationhorizonsofchildren’sreadersandthinkandexpressfromtheirperspective,soastoachievethefusionofhorizonswithreaders.Theculturaldifferencesbetweenthetwocountrieswillbeencounteredintranslation,whichbelongstotheuncertaintyofthetext.Translatorsshoulddealwiththesegapsaccordingtothereaders’acceptanceofforeigncultures.Onthebasisoffillingtheseculturalgaps,theyshouldalsoretainsomeuncertaintiesappropriately,soastoincreasethecuriosityofchildrenreadersandbroadentheirhorizonsofexpectation.Thispaperwillelaboratetheguidanceofreceptionaestheticsinthetranslationofchildren’sliteraturefromthelinguisticandculturallevels.5.1UsingReceptionAestheticsintheEnglish-ChinesetranslationofAlice’sAdventuresinWonderland5.1.1linguisticlevelsAccordingtothetheoryofreceptionaesthetics,translationofchildren’sliteratureshouldattachimportancetothestatusofchildren’sreadersandnarrowtheaestheticdistancebetweenchildrenandliterature.Therefore,thechoiceoftranslatedvocabularyisveryimportant.Children’sage,psychology,experienceandknowledgebackgroundaredifferentfromthoseofordinaryreaders.Whentranslatingchildren’sliteraryworks,translatorsshouldtrytheirbesttoselectsimpleandunderstandablewordsacceptabletochildreninordertostimulatetheirinterestinreading.Seethefollowingexamplesanalysis:Example1:Ithad,infact,asortofmixedflavorofcherry-tart,custard,pineapple,roast-turkey,toffee,andhotbut-teredtoast.有點像櫻桃餅，又有點像雞蛋羹有點像菠蘿蜜，又有點像烤火雞，有點像冰淇淋，又有點像芝麻醬。ThepronunciationofEnglishisquitedifferentfromthatofChinese.Englishsentencesaregenerallylong,complexandhavemanymodifiers.Itisdifficultforsmallreaderstounderstandandacceptlongsentencestructures.Consideringthereader’sexperience,knowledgeandexperience,theauthorsimplifiessentences,whichcaneasilycatchtheattentionofthesmallreadersandmakethemthinkmoreeasilyaboutthetasteofthefooddescribedinthearticle.Example2:itwokeupagainwithalittleshriek,andwenton:“thatbeginswithanM，suchasmouse-traps,andthemoon,andmemory,andmuchness...”翻譯1：…它”嚌”地一叫。又醒了過來，又接著講到:“樣樣?xùn)|西只要是M字聲音的，譬如貓兒，明月，夢，滿滿兒…”翻譯2：…啊呀，它又叫了一聲，醒過來繼續(xù)說：”每一件東西只要是M字打頭的，譬如捕鼠器、月亮、回憶以及很多”Fromtheperspectiveofreceptionaestheticsandreaders’limitedacceptance,translation1adoptsdomestication,insteadofdirectlytranslating“mouse-traps,andthemoon,andmemory,andmuchness”into“捕鼠器、月亮、回憶以及很多”astranslation2does.Itseeksforanewvocabularyandreplacesitwith“貓兒，明月，夢，滿滿兒”.Thetranslationnotonlyretainstheoriginalmeaning.Itisalsohelpfulforsmallreaderstounderstandthemeaningof“thatbeginswithanM”.Itcanmakesmallreadersbetteraccepttranslation,understandthemeaningoftheoriginaltext,andbetterintegratewiththeexpectationhorizonofsmallreaders.Example3:Presentlyshebeganagain.“IwonderifIshallfallrightthroughtheearth!Howfunnyit’llseemtocomeoutamongthepeoplethatwalkwiththeirheadsdownwards!Theantipathies,Ithink--”(Shewasrathergladtherewasnoonelistening,thistime,asitdidn’tsoundatalltherightword)翻譯：一會兒她又說話了。她道，”我倒不知道會不會一直掉穿了地球嘞，那怎辦么呢？掉到那邊，遇見了許多倒著站的人，一定很好玩兒！叫倒豬世界，世界”的名字，又覺得“倒豬世界”又不大像——WhenAlicefellfromtherabbithole,shewantedtoknowifshewouldfalloffthegroundandcomeouttheotherside.Ontheotherhand,itreferstoplacesthataretotallyoppositetowheretheyare,suchasAustraliaandNewZealand,asopposedtoEurope.Forchildrenreaders,limitedknowledgeandexperiencecannotmakethemfullyunderstandthemeaningoftheoriginaltext,sotheauthoruseschildlikelanguagetocreatenewwords.Insteadoftranslatingtheword“antipathies”into“nuisance”,thetranslatorcreatedanewwordsuchas“倒足”and“倒豬”fromtheperspectiveofchildren.Withthehumorouslanguage,itaddedanabsurdeffectthatchildrencouldunderstandandenjoy,andalsocreatedthespaceforchildrentoimagine.5.1.2culturelevelCultureandlanguageareindivisible.Everylanguageisrootedinaparticularculture.Thereisnoculturewithoutlanguage.Translation,cannotbeunderstoodasatranslationofthetext,butalsotranslatetheculturalmeaningbehindtheoriginaltext.Translationisnotonlytheconversionoflanguagesymbols,butalsothetransformationofculture.Translationisnotonlyseenasatransformationoflinguisticsymbols,butalsoasamodelofculturaltransformation.Therefore,translationisacross-culturalinterlanguagecommunicationactivity.Children’sliteraryworksaredifferentfromotherliteraryworks.Childrenareatthestageoflearningtheirmothertongue,andtheirthinkinghasnotyetformed.Iftoomanyforeignculturesareinvolved,theywillbringmanyuncertainfactorstotheirreading,thusaffectingchildren’sinterestinreading.Whentranslating,translatorsmustnotonlyretainchildren’sinterestintheoriginaltext,butalsotranslatetheculturethatchildren’sreaderscanunderstand.Infact,translatingchildren'sliteratureismuchmoredifficultthanforadults.Becausethechildmaynottolerateoccasionalvulgarandunnaturalwordsappearinginthetranslation.Example:Shewenton“andvinegarthatmakesthemsourandchamomilethatmakesthembitterand-andbarley-sugarandsuchthingsthatmakechildrensweettempered.”翻譯：她就接下去道……”心酸大概是喝了酸梅湯的緣故，命苦大概是吃了黃連的緣故，還有，還有小孩兒的脾氣甜甜的，大概是吃了大麥糖那些東西的緣故……，”“chamomile”isafamiliarthingtoWesterners,andthechildrenofthesourcelanguagecanquicklyreflectthemeaningitreferto.However,inChinese,thiswordisrarelyusedtosymbolizebitterness.Whenpeopleseethisword,theycan’timmediatelyreflectthemeaningbehindit.Accordingtoreceptionaesthetics,ifthetranslatorignorestheideologyofthereaderofthereceivinglanguage,thewordwillloseitsreferentialmeaningsintheoriginaltext.Ifliteraltranslationfailstoconveytheoriginalmeaningvividlyandappropriatelytothetargetreaders,thenitisthebestchoicetoconvertitintosomethingfamiliartothetargetreaders.Inthispassage,theauthoruseswordslikevinegar,chamomileandmaltose,whicharecommonindailylife,tomakechildrenassociatethemwithtaste.Vinegarissour,thisissomethingeveryonecanthinkof.ChamomileisanaromaticscentbutbitterherbthatisnativetoEurope.Theassociationmeaningofthischamomileis“bittertaste.”Barleysugarisakindofsugarmadefromchocolateandcoconut.Itsassociationis“sweet”.InChina,childrendon’tknowmuchaboutchamomileandmaynotunderstanditsextension.Inthetranslation,thetranslatorused“酸梅湯”,“黃連”and“大麥糖”toexpresssourness,bitternessandsweetness,whichisveryfamiliartoChinesechildren.5.2RemarkableeffectsofapplyingthetheoriesReceptionAestheticstoEnglish-ChinesetranslationofAlice’sAdventuresinWonderland5.2.1simpleandvividChildren’slanguageisoftenlivelyandinteresting.Intheprocessoftranslationofchildren’sliterature,alargenumberofrhetoricaldevicessuchasmetaphor,exaggeration,anthropomorphism,andonomatopoeianeedtobedealtwith.Iftheserhetoriccanbeproperlyhandled,thetranslationwillbevividandinteresting,fullofvividnessandfun,soastomaximizethereadinginterestofsmallreaders.Butshewentonallthesame，sheddinggallonsoftears，untiltherewasalargepoolallaroundher，aboutfourinchesdeepandreachinghalfdownthehall.但是她哭的越哭越苦，越苦越哭，一盆一盆的眼淚哭個不住，一直哭到她周圍成了一個眼淚池，有四寸來深，哭的幾乎滿廳都是水。Children’sknowledgeandexperiencerestricttheexpressionoftheauthor’slanguage,thusaffectingthestyleofthewholetranslation.Vividwordsattractchildren’sattentionmore.Therefore,theauthorusesthewords“一盆一盆的眼淚”and“眼淚池”inhistransla