从修辞层面看儿童文学的翻译
论接受美学视域下儿童文学翻译中的词句与修辞
论接受美学视域下儿童文学翻译中的词句与修辞摘要：随着我国文化与世界文化接轨步伐的快速发展，我国文化面临着多元化发展的趋势，也冲击着我国儿童文学的发展。
在翻译国外优秀儿童文学作品时，要结合儿童心身发展的特点，从接受美学理论角度出发为儿童翻译更加优秀的文学作品。
从词汇层面、句法层面、修辞层面具体地探讨接受美学理论下儿童文学翻译的策略，将对推进儿童文学翻译发展起到积极作用。
关键词：接受美学；儿童文学；翻译中图分类号：H315.9文献标识码：A 文章编号：2095-0438（2020）02-0111-03（三明学院海外学院福建三明365004）美国R·C ·霍拉勃教授在《接受理论》一文中认为接受美学的产生会受到各种条件的影响，其自身价值的实现也会受到这些条件的制约。
所以我国儿童文学翻译家在翻译优秀儿童作品时，也必须综合考虑接受美学理论的这些因素，从儿童心智发展、认知能力，兴趣爱好等方面入手，为儿童翻译更多的儿童文学。
本文从词汇层面、句法层面、修辞层面具体地探讨接受美学理论下儿童文学翻译的策略，从而为我国儿童翻译通俗易懂的文学读本，提高他们的阅读兴趣，去感受文本，与作者的情感世界同为一体，感受世界的美好。
一、词汇层面：选词生动，富有童趣在词汇方面，译者要注意到儿童对词汇量的掌握程度，在日常生活中所见、所闻很少，所以翻译时要使用儿童理解范围内的词汇，不能给他们的阅读增加难度，否则挫伤他们的阅读积极性。
可以从拟声词、叠词、感叹词、儿化词及口语化动词等方面入手，使译文富有童趣。
例如《夏洛的网》中有这么一段话:“The Fair Groundswere soon deserted…Nobody of the hundreds of people that hadvisited the Fair…No one was with her when she died.”[1](P45)康馨和任溶溶两位学者的译本就有很大的差距。
从接受美学角度分析儿童文学的翻译规则
Literature ReviewThis paper aims to study the E-C translation of nursery rhymes in Children's Literature from the perspective of reception aesthetic. Nowadays, the children’s literature is no longer a kind of reading material especially the nursery rhymes which is taught at the very young age of a person. It also becomes a medium to communicate among children. With the development of the culture transmission, various translation versions were created, meanwhile, it also becomes a kind of tool for countries to communicate deeply. And a number of experts are doing researches on the translation of the nursery rhymes.1、Definition of Children’s LiteratureThere is not a proper definition for children’s literature. From the view of Baidu we can know that “The children’s literature is a kind of literature which created for the children. It is easy to understand and can be divided into many aspects from the acknowledge classics like picture books, fairy tales, fables, nursery rhymes and other’s” (bai du bai ke).According to the opinion of Cao Wenxuan“the children’s literature can bring the children both happiness and sadness in heart, and the sadness is the more important feeling” (bai du wen ku).Riitta Oittinen (2002:62) also made a big contribution to the definition about the children’s literature, he said: “Seen from a very wide perspective, children’s literature could be anything that a child interesting”. It means that whatever thechildren interested in, even a picture, it can be called the children’s literature.As for nursery rhymes, in the accent time, we called it children’s folk rhymes. From Zuo Qiuming (2008:215) who wrote The zuo commentary, which are always regarded as the annalistic historical writing had written “pu yan yin tong yao”.we can tell that we have a very long history of the nursery rhymes.Xu Derong (2004:58) who was interviewed by the famous magazine Meta once talked about this in 2003. He said: “Scholars from 17 countries had papers published on that magazine but none was from China”. It showed that the translation of the children’s literature translation had not been paid too much attention.Shang Shengyilang, a famous Japanese theorist researching the children’s literature, defined the children’s literature: “ children’s literature is the literature which adults creates according to the children’s development for the purpose of educating them to be a sound person in society through the value of the children’s literature” and this is cited in Li Li’s book(2004:89)2、Research on Reception AestheticWith the development of the globalization, the importance of the communication has been known by many people. However, we can not express our ideas to the different races because of the different cultures and languages. Then the translation appeared which can help us built bridges between nations. The literature translation also became a necessary part of the communication. Reception aesthetic is one of the famous view towards the translation.2.1、The Definition of the Reception AestheticIn the 1960s, large social and political changes took in Germany and other countries. As a result, many young scholars intended to break down traditional methods and advocate new ones for researching and criticizing literature. They put all efforts to set up a total different standard. At that time, Hans Robert Jauss and Wolfgang Iser realized that the old paradigm worn out and the reconstruction of a new one emergent. They then put forward reception aesthetics theory, which completely absorbed the basic conceptions of the phenomenology from Roman Ingarden and Hans George Gadamer’s Philosophical Hermeneutics, regarding them as the rational basis for reception aesthetics（wei ji bai ke）.Wolfgang Iser (1996:57-58), one of the creators of the theory put forward that “the literary work has two poles: the artistic and the aesthetic. The artistic is the author’s text, and the aesthetic is the realization accomplished by the reader. A text can only come to life when it is read, and if it is to be examined , it must therefore be suited through the eyes of the reader”.Hu Gengshen (2007:248) point out that in the old Greek, people started to pay attention to the aesthete which related to the philosophy. It was not until Socrates started to realize the humanity did the experts put it into the category of translation field. Aurelius Augustinus put forward the idea that the proper beauty, order and harmonious that make up the aesthete.Zeng Wenxiong (2006:298) also made an importance about this point, He said: “The modern ideologist Ludwig Wittgenstein discovered this issue from theperspective of philosophy, he uses the words of Heidegger’s philosophy and the three factors of aesthetics explained the Learning ontology”2.2、Main Principles of Reception AestheticThe target language readers of the translation of the children’s literature are children who are very different from the adult readers. The reception aesthetic also has its own principles.Shen Meiru (1983:46) held a very positive opinion about the issue. She proposed: “We can describe the west world with our special words”. The translators should think about the culture of own, and never presume every word comforting to the original. Or it would not proper for the kid to read.The well-known German literary theorist Robert once had published a passage which talked about the five principles of Reception Aesthetic in 1967.He said: “the pay attention to the target reader, research the functions through the reception, study the inflection of the book, express idea properly and study the factors that influenced the reader”(jie shou mei xue).Xu Yuanchong (2008:6) said in his book: “From Democritus to Shakespeare, then from Keats to Schopenhauer, there were three things throughout their works and mind that ware the truth, goodness and beauty”. And this lay a foundation for his theory which was treated as the most significant event during the 21 century in this field.In Gentzler’s work (2004:95), he cited Lefebvre’s idea that “the translator’stask id precisely to render the source text, the original author’s interpretation of a given theme expressed in a number of variations, accessible to readers not familiar with these variations, by replacing the original author’s variation with their equivalents in a different language, time, place and tradition. Particular emphasis must be given to the fact that the translator has to replace all the variations contained in the source text by their equivalents”.Ma Xiao (2000:47) said that reception aesthetics also absorbed nourishment from Prague’s vacancy thought of structuralism, Sate’s theory of renewing reader’s status and circulating model theory of Max’s production-circulation-consume Jauss (1982:145) pointed out that it was Wolfgang who put forward “indeterminacy text and vacancy of meaning”. Indeterminacy refers to the absence of an exact correlation between phenomena described in literary texts and objects in the real world.3、Nursery rhymes and its Translation at Home and AbroadWith the development of the society, the nursery rhymes have become a major part of the Children’s literature which belongs to the folk literature before. However, the translation of the nursery rhymes has been ignored for a very long time.3.1、Nursery rhymes and its Translation at HomeWe used to teach the Chinese traditional nursery rhymes to the youth and know little about the foreign ones. The other countries have been in the same situation as well. What cause this kind of phenomenon is the shortage of authors and scholarsin this field.“As we step into the new century,” said Wang Quangen when he was interviewed by the People’s Daily, “the main authors of the children’s literature field are more than fifty, what we should care about were the young generations’ ability to deliver this kind of skill. Moreover, there still not many publishing presses would like to publish the Children’s literature, even the Children’s literature plays an import role in the young age” (2011). From this we can expose the phenomenon that children’s literature hasn’t been paid much attention let alone the nursery rhymes translation.You would find out there were about 4520 versions in the past ten years if you check the figure of the CNKI, but there are only 85 for the Children’s literature, what’s more, there were only nine nursery rhymes. From this, we can also conclude that the nursery rhymes translation is in an embarrassing position compares with other subjects (CNKI shu ju ku) .Xu Derong (2004:58) who was interviewed by the famous magazine Meta once talked about this in 2003. He said: “Scholars from 17 countries had papers published on that magazine but none was from China”. It showed that the translation of the children’s literature translation had not been paid too much attention.When talked about the development of the children’s literature translation. Zhang Luyuan (2007:90) talked about the profiles of children’s literature translation; she discussed this from late Qing Dynasty to the New Period. Qing Gong (2004:41)illustrates the features of the children’s literature translation during May 4th Movement. He concludes that modern children’s literature in China has intimate relation with children’s literature translation at that time.3.2、Nursery rhymes and its Translation abroadPeople in the West Country would teach their children the nursery rhymes as the Chinese do. From this we can know that the nursery rhymes take up a very import position. What about the translation of the nursery rhymes?In the paper of Liu Yuan (2008:12), she mentioned that Gote Klingberg was the first man who did a systematic research on the translation of the children’s literature. However, his study was not lain any theoretical approach of translation, and many of assumptions were questionable.Li Honghui wrote in his paper (2011:24)In the western world, the translators also focus their attention on the text and the theories of translation are mainly derived from the translators’ experience.Tiina Puurtinen (1995), a Finish scholar, also did research on the translation of the children’s literature, and published an article Linguistic Acceptability in Translated Children’s Literature which analyzed the effects of different styles of acceptability and reader expectations.Newmark (2001:39) in his book A Textbook of Translation says “I define culture as the way of life and its means of expression”. That is to say from people’s way of expression about their belief, ideas, thoughts, we can know their culture. From learning foreign culture, we can get familiar with their life.4、Future of the Nursery rhymes TranslationWith the development of the world and the concern about the young generation, the translation of children’s literature will has a bright future.As the translating job is the medium between the different cultures, and it has been approached primarily from the aspects of the differences in language structures, As Nida (1993:24) says “It is true that in all translating and interpreting the source and the target language must be implicitly or explicitly compared, but all such interlingua communication extends far beyond the mechanics of linguistic similarities and contrast”.Zheng zhenze said: “The children’s literature, whether produced at home or abroad, should introduce to the children. We should not oppose the books which published in the foreign countries.”(Bai du wen ku).In other countries, because of the difficulty in defining children’s literature, let alone the nursery rhymes, it is also hard to trace its history to a precise starting point. They always used the nursery rhymes as a window for children to understand themselves and others which Stephanie Feeney and Eva Moravcik (2007:31) hold the opinion towards the Children’s literature.On the other hand, there were more and more scholars have made many analysis in the development of the translation of the nursery rhymes all around the world, Zhu Ziqiang (2008:53) who was treated as the leader of this field put forward two theories that are the theory of the scientific nature and application in practice. He also said that “The children’s literature is also beneficial to the adults”. Themore precious is that his theory has become the theme of the translation in this field. In the preface of his book Tong shu shi xiao lu, he explained the meaning of basis which means the standard and criterion of the mind. That is the children-basis, the childhood is the first stage of one’s life and it is the very time for human to learn everything from the surroundings.5、ConclusionThe translation of the nursery rhymes hasn’t been put in a proper position. But we should keep positive about this for there are more and more experts are doing research in this field. In spite of the nursery rhymes plays an important role in childhood, it also become a popular literature in the world.。
接受美学视角下的儿童文学翻译策略
接受美学视角下的儿童文学翻译策略
美学视角下的儿童文学翻译策略涉及到如何准确且有效地传递原作的
美感和意义。
以下是一些常见的翻译策略：
1.采用等值转换：尽量保留原作中的美学元素，如修辞手法、象征意
义等。
翻译时可以选择相似的表达方式，以保持原作的美感。
2.重视语言的韵律和节奏：儿童文学通常具有韵律感和节奏感，翻译
时需要保留这种语言的美感。
可以采用押韵、排比、唱和等手法，使文学
作品在目标语言中仍然具有类似的韵律和节奏。
3.维持文化特色：儿童文学往往带有丰富的民族文化特色，翻译时需
要尽量保留这些特色，使目标语言读者也能感受到原作背后的文化魅力。
4.采用适合目标读者年龄的词汇和句式：翻译儿童文学时需要考虑目
标读者的年龄特点，选择适合他们理解和欣赏的词汇和句式，并且要注意
不让翻译过程中损失原作的美感和意义。
5.适度删减和注释：有时候，为了使目标读者更好地理解和欣赏儿童
文学作品，可能需要适度删减原作中的内容或者加入注释。
这样可以保持
原作的美感和意义，并使目标读者能够更好地理解作品。
总之，美学视角下的儿童文学翻译策略要尽力保持原作的美感和意义，同时考虑目标读者的特点和需求，以确保翻译能够达到预期的艺术效果。
从规范视角看儿童文学翻译--以《哈利·波特与魔法石》苏农译本为例
从规范视角看儿童文学翻译--以《哈利波特与魔法石》苏农译本为例彭婧【摘要】英国女作家J·K·罗琳的《哈利·波特》系列小说在欧美家喻户晓，尤以第一部《哈利·波特与魔法石》最为成功，其译作在中国也广受好评，这与其译者是紧密相关的。
以彻斯特曼的翻译规范理论为基础，通过对《哈利·波特与魔法石》的译者在其翻译过程中所采用的典型的策略进行分析，找寻其所遵循的翻译规范来探讨儿童文学的翻译。
%Harry Potter series,written by the British female writer J.K.Rowling,is well known in the United States and European countries,especially the first book called Harry Potter and the Philosopher’s Stone,whose translation is popular in China as well.It has something to do with the translator.Based on Chesterman’s t heory of translation norms,the translator explores the English-Chinese translation of children’s literature through find-ing the translator’s translation norms when doing translation by detailed analysis of the specific strategies in trans-lating Harry Pot ter and the philosopher’s Stone.【期刊名称】《湖南工业大学学报（社会科学版）》【年(卷),期】2014(000)003【总页数】4页(P153-156)【关键词】翻译规范;儿童文学;翻译策略【作者】彭婧【作者单位】湖南工业大学外国语学院，湖南株洲412008【正文语种】中文【中图分类】H159儿童文学翻译不同于其他类型的文学翻译，受其目标读者的高度制约，有着一定的特殊性。
浅析目的论视角下儿童文学的翻译
浅析目的论视角下儿童文学的翻译1. 引言1.1 探讨目的论视角目的论视角是翻译研究的一种重要理论观点，强调翻译的目的和目标在整个翻译过程中的指导作用。
目的论视角下的翻译不再是简单的语言转换，而是要考虑到翻译作品的目的、目标以及目标读者的需求。
在儿童文学翻译中，目的论视角也扮演着重要的角色。
翻译者需要深入了解儿童文学的特点和儿童读者的特殊需求，从而选择合适的翻译策略，确保翻译作品能够传达原作的内容和情感，同时又符合目标读者的接受习惯和理解能力。
目的论视角下的翻译注重翻译作品的功能和效果，强调翻译的传播和影响力，使翻译作品更好地为儿童文学的跨文化传播和交流做出贡献。
因此，在翻译儿童文学时，深入探讨目的论视角下的翻译原则和策略，对于提高翻译质量、促进儿童文学跨文化传播具有重要意义。
1.2 介绍儿童文学翻译介绍儿童文学翻译的重要性不言而喻。
儿童文学是儿童成长中不可或缺的一部分，通过阅读不同文化背景下的儿童文学作品，可以帮助儿童开拓视野，培养情感和思维能力，促进跨文化交流与理解。
而翻译在儿童文学领域中扮演着至关重要的角色，它不仅是文学作品跨越语言障碍的桥梁，更是文化交流与传播的媒介。
通过翻译，儿童可以接触到来自世界各地的优秀文学作品，了解不同国家和民族的文化传统，增加对多元文化的认知，促进全球化时代下儿童文学的发展与传播。
儿童文学翻译的重要性不仅在于将各国优秀的儿童文学作品介绍给更广泛的读者群，更在于促进跨文化交流、培养儿童的国际视野以及推动儿童文学的全球化发展。
2. 正文2.1 目的论视角下的翻译策略1. 确定翻译目的：在翻译儿童文学时，应首先明确翻译的目的是为了让目标读者理解原文内容，还是为了传达特定的情感或价值观。
根据不同的翻译目的，翻译策略也会有所不同。
2. 注重读者感受：儿童文学的翻译应当注重目标读者的感受和理解能力。
翻译者需要考虑不同年龄段儿童的语言表达能力和文化背景，以确保翻译结果能够与目标读者产生共鸣。
从修辞结构理论角度看儿童绘本中英版本的语篇差异
从修辞结构理论角度看儿童绘本中英版本的语篇差异作者：王雪纯来源：《速读·上旬》2021年第07期◆摘要：结构修辞理论（RST）由美国学者Mann & Thompson在1987年首次提出，该理论用于描写自然语篇结构。
本文选取《你好，灯塔》为例，分析文本中修辞关系的异同，并探讨了产生异同的原因。
对这一问题的研究不仅拓宽了RST的研究领域，而且为文学翻译策略的使用提供启示。
◆关键词：修辞结构理论;绘本;修辞关系1简介修辞结构理论是研究语篇结构的重要理论之一，该理论是由美国学者Mann & Thompson （1983）等提出的一套用于分析自然语篇结构的理论。
随着全球化的不断发展，各种类型绘本及译本在全球范围内流行。
而由于文化背景的差异，各国语言的表述方式有所不同，因此在将源语言译为目的语的过程中，需要对句型、语法等进行转换。
本文将以获“2019年凯迪克金奖”的绘本《你好，灯塔》（Hello Lighthouse）为例，来探讨在进行绘本翻译时，绘本故事的语篇结构是如何进行变化的。
2文献综述2.1修辞结构理论修辞结构理论（Rhetorical Structure Theory）是对自然语篇结构进行描述的一种理论。
它是描述自然文本的一种有效的语言学方法，主要根据文本各部分之间的关系来描述自然文本的结构特征。
（Mann & Thompson， 1987）目前对于修辞结构理论的研究主要集中在两个领域：计算机领域和文本分析。
Hou （2020）等人列举了目前修辞结构理论在计算机领域的几大运用，主要包括聊天机器人、自动文摘系统建立、情感分析、机器翻译、文本生成等。
而在文本分析方面，修辞结构理论主要用于议论文研究（王安琪， 2019）、写作教学与分析（张喆 & 胡文华， 2007）、对话与多媒体研究（杨增成 & 苗兴伟， 2017）及跨语言研究（王伟， 1994）领域。
从接受美学角度看儿童文学的翻译——以《了不起的狐狸爸爸》为例
作者简介：王玙，硕士在读。
费红，教授。
研究方向：认知语义学、词汇学。
27千个哈姆雷特”，因为他们的欣赏水平各不相同。
文学作品的意义和价值不仅在于作者，更取决于读者，读者可以在阅读的过程中丰富作品，作品在读者阅读的过程中被赋予了新的生命。
1.2读者的主体地位在传统的翻译理论中，读者总是处于被动的位置，接受美学理论出现后，读者的地位有了很大的改变。
原来多集中于探讨作品与作者、作品与译者之间的关系，现在转变成了探讨作品与读者之间的关系，读者有着极高的地位，有较大的主体性。
1.3文本的空白伊泽尔（1978）指出，文本意义存在着不确定性和空缺，也就是指“文学对象和现实世界的对应物之间缺乏有意义的联系”。
每一部文学作品，都包含着许多的空白。
胡开宝和胡世荣（2006）也认为文学文本中存在空白，并将这些空白进行了归类。
因此，读者在阅读过程中就应该将这些空白处填充完整。
空白能够引导读者的想象，帮助作者完成“作品”。
2儿童文学的特点及其翻译与接受美学的相容性儿童文学作品的语言特点，有这几点：（1）简洁，易接受。
（2）规范，优美。
语句通顺，不存在语病，符合语法规范。
（3）形象生动。
因此，在翻译儿童文学作品时，译者应充分考虑到接受主体是少年儿童，在使用口语化的语言，句式简短精炼的同时，也要不失生动活泼。
接受美学强调读者的重要性，而儿童又是一群特殊的读者，特点鲜明，因此将接受美学理论应用到儿童文学翻译的研究是一个很好的尝试，也是可行的，它可以拓展翻译研究的视角和方法。
3从接受美学角度分析《了不起的狐狸爸爸》的翻译在本部分，笔者将在接受美学理论的指导下，主要从词汇和修辞层面来分析《了不起的狐狸爸爸》的翻译。
3.1作品简介《了不起的狐狸爸爸》的作者是挪威籍儿童文学作家罗尔德·达尔。
它讲的故事是：由于狐狸们经常去三个可恶的农场主家偷鸡、鸭，于是三个农场主就发誓一定要捉到狐狸爸爸。
后来狐狸所住的洞穴被农场主们发现后，机智的狐狸一家与其周旋，最后成功逃脱并找到食物。
《目的论视角下儿童文学的翻译》范文
《目的论视角下儿童文学的翻译》篇一目的论视角下的儿童文学翻译：探索高质量翻译的实践与策略一、引言儿童文学作为人类文化的重要组成部分，对于儿童的成长和发展具有不可替代的作用。
然而，由于语言和文化差异的存在，儿童文学的传播和交流面临着诸多挑战。
目的论视角下的儿童文学翻译，旨在通过科学、有效的翻译策略和方法，将优秀的儿童文学作品传播到更广泛的读者群体中，为儿童的成长提供更多的文化滋养。
本文将从目的论的视角出发，探讨儿童文学翻译的高质量实践与策略。
二、目的论视角下的儿童文学翻译目的论认为，翻译的目的是为了实现跨文化交流和传播，翻译的过程应该以读者为中心，根据读者的需求和文化背景进行翻译。
在儿童文学翻译中，目的论的应用尤为重要。
因为儿童读者的认知能力和心理特点与成人不同，他们对于文学作品的需求和接受程度也有所不同。
因此，在儿童文学翻译中，译者应该根据儿童的认知特点和心理需求，选择合适的翻译策略和方法，以实现更好的传播效果。
三、高质量的儿童文学翻译实践1. 了解读者需求：在翻译儿童文学作品时，译者应该首先了解目标读者的文化背景、语言习惯和阅读习惯等方面的信息。
只有了解读者的需求，才能更好地选择合适的翻译策略和方法，使译文更符合读者的口味。
2. 精准的词汇选择：在儿童文学翻译中，词汇的选择应该准确、生动、形象。
译者应该根据语境和读者的年龄特点，选择合适的词汇，使译文更加生动、形象，易于理解。
3. 语言的简洁性：儿童文学的语言应该简洁明了，易于理解。
在翻译过程中，译者应该尽量避免使用复杂的句式和词汇，使译文更加通俗易懂。
4. 文化背景的融入：在翻译过程中，译者应该注重文化背景的融入，使译文更加贴近读者的文化习惯。
通过适当调整语言风格和表达方式，使译文更加符合目标读者的文化审美。
四、策略与方法1. 语义翻译与交际翻译的结合：在儿童文学翻译中，语义翻译和交际翻译的结合是必要的。
语义翻译注重原文的语言形式和意义，而交际翻译则更注重读者的理解和接受程度。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
从修辞层面看儿童文学的翻译
摘要儿童文学的翻译研究对中国儿童文学的发展和生成有着重要的作用，应该引起更多的关注和研究。
一部外国儿童文学作品能在广大儿童中流行以及被他们所接受，就要看这部作品的翻译版本是否符合目标儿童读者的口味。
本文从修辞的角度分析了《爱丽丝梦游仙境》这部国外文学经典的两个中译版本，对于其在国内大受欢迎就有理可循了。
关键词儿童文学翻译目标儿童读者修辞的角度
一、引言
为儿童创作的文学是儿童文学，它在题材、主题、故事结构、语言风格、修辞手法等诸多方面都要求有不同于成人文学的价值标准。
创作儿童文学时，作者要充分认识到儿童特点，并尽量使文本易于接受。
译者也同样要注意译文读者的特点，以创作更好的译本来适应译语文化的标准。
本文就修辞层面对《爱丽丝梦游奇境》进行了分析，了解其在国内受欢迎的原因。
在修辞层面上，英汉两种语言都习惯于采用多种修辞手段以增强文本的趣味性和感染力。
这些修辞手段对于儿童文学来说是不可或缺的。
然而两种语言之间的巨大修辞传统差异给译者提出了很大的挑战。
其实只要注意到这些修辞所含的意义，并采取相应的措施，是能够创造出易被儿童读者接受的译本的。
本文从三个方面讨论了《爱丽丝漫游仙境记》的翻译中使用的修辞手法。
二、语音上的修辞
在语音方面，英语作者常使用押头韵和押尾韵的修辞来创造生动有趣的语音效果，以此吸引儿童读者。
翻译时要注意创造同样的效果。
《爱丽思漫游奇境记》中有一种押韵，如：
alice! a childish story tale,
and with a gentle hand,
lay it where childhood’s dreams are twined
in memory’s mystic band,
like pilgrim’s withered wreath of flowers
plucked in a far-off land. (carroll 4)
爱丽思！把这孩子气的故事，
放上你温柔的手掌，
编系上记忆那神秘的缎带，
作为你童年的梦想珍藏，
就像朝圣者采撷的枯萎花环，
来自遥远的异国他乡。
在这首诗中lewis carroll使用了尾韵的方法，“hand，band，and land”三个词押了同一个音，译者也使用了三个押韵词“掌，藏，乡”，读起来朗朗上口。
三、反复
反复是产生强调、清晰、说明和感情效果的主要修辞手段。
英语作者常在作品中尤其是儿童文学作品中使用反复来加深儿童读者
的印象，吸引他们的注意力。
由于反复有特殊的语用意义，翻译时不可使用成人化的口吻。
例如：
down, down, down. would the fall never come to an end? (carroll)
a: 掉啊，掉啊，掉啊！这一跤怎么摔不完了呢？
b: 掉啊，掉啊，掉啊。
难道永远掉不到头了吗？
“down”的反复使用强调了爱丽思下降的时间很长，翻译应该反映这一过程。
四、双关
双关是一种文字游戏，可以用于同一单词的不同含义，也可用于不同单词的相似含义或相似发音。
常为了创造幽默或严肃的效果而故意混淆词的意义或发音。
比如：“try our sweet corn, and you’ll smile from ear to ear.”，在这儿“ear”有两种意思，是双关。
又如：“on sunday they pray for you and on monday they prey on you.”，双关指的是两个发音相同的词“pray”和“prey”。
双关的运用是儿童文学的特点之一，由于文字游戏是儿童语言发展的重要阶段，同时，由于其制造幽默气氛的特殊效果，双关深受儿童作家的青睐。
例如：
“only mustard isn’t a bird,” alice remarked.
“right, as usual,” said the duchess: “what a clear way you have of putting things!”
“it’s a mineral, i think,” said alice.
“of course it is,” said the duchess, who seemed ready to agree to everything that alice said: “ there’s a large mustard-mine near here. and the moral of that is ‘the more there is of mine the less is of yours.’”
爱丽丝道，“可是芥末不是动物，怎么痛鹭鸶比呢？”
公爵夫人道，“又对啦，你说话真说的好明白！”
爱丽丝道，“我想它是一种矿物。
”
那公爵夫人似乎任爱丽丝说什么，她总以为然的，她道，“自然是个矿物。
”
b．“只不过芥末可不是鸟啊，”爱丽丝评论说。
“跟刚才一样，你说的不错，”公爵夫人说，“你分辨事情多么清楚明白！”
“我觉得，芥末是一种矿物质，”爱丽丝说。
“当然是的啦，”公爵夫人说，她似乎随时准备同意爱丽丝所说的每一件事情。
“这儿附近有一个很大的芥末矿。
其中的教训是——我的东西越多，你的东西越少。
”
句子中的“mine”是一个多音节的词，有“我的”和“矿”的意思。
为了保留原文中的同音异议以及这个词引发的笑料，李选用
“旷”这个词义，与原文没有任何关联。
他将最后一句翻译成了“所旷越多，所学越多”。
“旷”的意思是“不在或缺少”与“矿”同音异议，在意思上与原文符合。
尽管在词义上不同于原文，却成功的表达出双关意味以及幽默的效果。
读者在理解上不会有任何问题，也能理解“矿”和“旷”是谐音，同时会觉得公爵夫人很搞笑。
五、结语
儿童文学作品翻译在翻译领域中时常被忽略。
一提到儿童文学翻译，一般情况下，人们会轻易地认为译者用浅显易懂的词语、短句将原文的意思表达出来就可以了。
翻译儿童文学作品时，译者要不忘自己是在翻译儿童文学作品，不忘译作的读者是孩子。
儿童文学的翻译应保证广大中国少年儿童通过译文容易理解和接受外国儿
童文学作品，通过阅读译文能得到与原文读者类似的感受、启发和教育。
修辞手法为本篇论文提供了理论基础。
通篇在修辞的角度上对《爱丽丝漫游仙境记》的两个中译本进行了分析，显而易见，这一作品受到国内儿童读者的青睐也就不足为奇了。
参考文献：
[1] alvstad, cecilia. “publishing strategies of translated children’s literature in argentina: a combined approach.”meta 48 (2003):
[2] fokkema, d. w., and e. kunne-ibsch. the theories of
literature in the twentieth century. london: c. hurst & company, 1978.
[3] weaver, warren. alice in many tongues: the translations of alice in wonderland. wisconsin: the university of wisconsin press, 1964.
[4]李敏中译。
爱丽思漫游奇境记[m].北京:中国书籍出版
社,2004.
[5]陈复庵译.阿丽思漫游奇境记[m]北京:中国对外翻译出版公司,1981.
[6]徐德荣.“儿童文学翻译刍议”载《中国翻译》2004,6.。