论儿童文学作品翻译标准
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.。
翻译技巧：探讨儿童文学翻译技巧
探讨儿童文学翻译技巧20世纪70年代，德国出现了功能派翻译理论(Nord，2001:9-13)，其中目的论是该翻译理论的核心部分。
目的论主要强调：为适应译文的功能、新的交际环境和目的读者的需求，译者在翻译过程中应从译文读者的立场出发，根据译文的预期功能来决定自己的翻译策略，从而使译文功能得以很好实现。
该翻译理论与传统的“等值观”不同，翻译目的论注重的不是译文与原文是否对等，而是强调译文既要尊重原文的故事情节又要符合译文的文化背景，以达到译文预期功能为目的，选择最佳处理方法。
本文结合《Little Lord Fauntleroy》的英汉翻译，以翻译目的论为理论依据，从译文的目标读者—儿童的特点出发，总结了翻译方法和策略。
1、拆译法与缩译法(1)拆译法英语和汉语两种语言有很大的差异，通常在英语句子中，有很多修饰成分，这些修饰成分在转换为汉语时不易处理，很难转换为通顺易懂的汉语。
这种情况下，可以采用拆译的方法，将原文中的某个单词、短语或从句，从主句中分离出来，形成一个单独的句子。
这样不但有利于原文意义转达，同时也增加了译文的灵活性。
在英译汉的过程中，比较常用到的拆译法是，把主句拆出，形成单独的分句：例一：He had known all about the old Earl's disappointmentin his elder sons and all about his fierce rage at Captain Cedric's American marriage, and he knew how he still hated the gentle little widow and would not speak of her except with bitter and cruel words.译文：他了解所有的老公爵的失望，这些失望有的来自于他的两个大儿子，有的来自于塞德锐克上尉在美国的婚姻给他带来的愤怒，他知道老伯爵是多么憎恨这个柔弱的小寡妇，他从不说她好话，除非使用痛苦和残酷的话语。
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。
浅议儿童文学翻译标准
浅议儿童文学翻译标准随着国际交往与合作的不断深化，儿童文学翻译也逐渐成为翻译行业中备受关注的一个领域。
儿童文学的翻译工作除了要具有基本的翻译素质和技巧外，还需要遵循一些特殊的标准和要求。
本文将从语言、文化、儿童心理等方面探讨与儿童文学翻译相关的一些基本标准。
一、语言标准1.适合孩子阅读的语言儿童文学翻译的阅读对象是儿童，因此，翻译需要使用简单易懂、生动活泼，富有儿童趣味的语言。
在翻译过程中，需要尽可能地避免使用过于复杂的语言、专业术语或不常用的口语等，以便让儿童更好地理解和接受。
2.准确信达的语言儿童文学翻译需要准确传达原文中的意思，包括文学风格和表达方式等方面。
翻译者需要在文学作品的语言风格、表现手法和文化内涵等方面做到忠实于原著并具有创造性。
二、文化标准1. 尊重原著文化每个国家和每个文化都有其独特的文化特点和传统，儿童文学也不例外。
因此，在进行儿童文学翻译时，需要尊重原著文化背景，正确理解并传达原著中的文化内涵，充分体现原著的思想、情感和价值观。
同时，需要注意翻译中的文化差异，让读者更好地理解和接受。
2. 与本地文化接轨儿童文学翻译需要兼顾原著文化和目标语文化的差异，让读者在阅读过程中更加自然地接受和理解。
翻译者需要做到目标文化与原著文化的融合，让翻译更具有当地特色，使读者感受到与自己身处的社会环境和文化相接轨。
三、儿童心理标准1. 尊重儿童特性儿童文学是专门写给儿童阅读的，因此，在进行翻译时需要注重孩子的心理特点和阅读习惯。
儿童文学翻译需要以实际的读者为本，给孩子们营造一种轻松、快乐、有趣的阅读氛围，更好地满足孩子们的阅读需求。
2. 翻译成分适宜儿童文学翻译需要适时添加一些与目标文化相同或相似的元素，以便更好的契合目标文化对童年的定义与期待，让孩子们更加容易地理解和接受。
同时，也需要避免过度注入目标文化成分，保证阅读的纯粹和原味。
在这个多元的文化环境中，儿童文学翻译的标准和要求也在不断变化和发展。
儿童文学翻译原则
儿童文学翻译原则
儿童文学中文翻译的原则主要包括以下几个方面：
1.易读易懂：儿童文学的翻译应该尽量让孩子们能够轻松阅读和理解，使用简洁明了的语言和词汇，避免使用生僻难懂的词汇和复杂的句式。
2.保留原作情感和风格：翻译应该尽量保留原作的情感表达和风格特点，让读者能够感受到原作中的情感和意境。
3.语言生动活泼：儿童文学翻译应该使用生动活泼的词语和句式，使
得故事更加吸引人，增加读者的阅读兴趣。
4.适应目标文化：翻译应该根据不同文化背景和阅读习惯进行调整，
确保故事内容和文化背景的契合性，让读者能够更好地理解和接受。
5.尊重原作：翻译应该尊重原作的意图，不随意改动故事内容和情节，保持对原作的忠实性。
6.科学普及：对于涉及科学、数学等知识的儿童文学作品，翻译应该
保持准确性和科学性，同时注意用简明易懂的语言解释相关概念。
7.多元文化表达：对于涉及多元文化的儿童文学作品，翻译应该尊重
和保留原作中的多元文化元素，让读者能够了解和体验不同文化。
论“儿童本位”翻译观
论“儿童本位”翻译观摘要：本文分析了国内儿童文学翻译的研究现状，提出儿童文学翻译应遵循“儿童本位”翻译原则，并且通过对照分析经典儿童文学作品《夏洛的网》英汉译本，从语言、文化等多角度印证该观点的正确性和可行性。
关键词：儿童文学儿童文学翻译儿童本位夏洛的网一、儿童文学及翻译研究现状近年来，随着儿童的社会地位不断提高，我国每年都引进大量优秀的外国儿童读物，这吸引了越来越多的翻译者投身该领域。
尽管如此，儿童文学依旧是被忽略和轻视的领域：1，整个社会将儿童文学及其文化看作“小儿科”；2，我国专门从事研究儿童文学翻译的学者少之又少，笔者统计了2007年到2012年期间，《中国翻译》上总共发表的750多篇文章中，没有一篇是关于儿童文学翻译及理论研究的；3，国内还没有儿童文学及儿童文学翻译相关的独立学科。
二、“儿童本位”观的内涵nida在translating meaning中提到“12岁孩童的文本与受过高等教育的成人的文本构建是完全不同的”（nida，1982：51），所以译者在翻译儿童文学作品时应更加注重对象性，除了要准确传递原文意思之外，还要求译文符合儿童的理解和欣赏能力，一切以儿童读者“看得懂，喜欢看”为原则，即“儿童本位”原则。
在儿童文学翻译研究领域，著名翻译理论家riitta oittinen的著作translating for children影响最为深远。
书中她区分了translating for children（为儿童翻译）与translating of children’s literature（翻译儿童文学），认为翻译的过程就是译者（成人）与预想读者（儿童）对话的过程。
（oittinen，2000：224）“为儿童翻译”（translating for children）强调了儿童在翻译过程中的重要性，肯定了“读者本位”观的重要性。
朱自强教授在《儿童文学概论》中对“儿童本位”观作了更为精确的定义：以儿童为显性读者，成人为隐性读者，这样才能赋予儿童文学隽永的意味（朱自强，2009：89）。
儿童文学文本的英译翻译策略
儿童文学文本的英译翻译策略儿童文学是儿童读物的重要组成部分。
童话更是其中最主要的表现形式。
童话作品通过丰富的想象和夸张手法塑造形象，反映生活，从而对儿童进行思想教育。
“五四”新文化运动后，受大量译入的国外儿童文学作品影响，中国儿童文学被正式提出，作为独立的文学领域被探索和发展，普遍称之为中国现代儿童文学。
但相比成人文学，儿童文学受到的关注度还远远不够。
国内大量的儿童文学作品都基于译入的国外儿童文学作品上。
少量优秀的国内儿童文学作品大多被忽略，更鲜有涉及本土作品英译输出。
儿童文学属于文学范畴。
儿童文学的翻译也参照遵从文学翻译原则。
但由于儿童文学长期以来一直被边缘化，受到的关注度低，译者在翻译时很少考虑到此类读者群的特点及其特殊性，因此，儿童文学的翻译一直没有形成系统化的标准。
事实上，儿童文学的翻译在其主题，结构与语言风格上都与成人文学大有不同，译者在翻译过程中必须牢翻译的所有要素。
在此基础上，本土作品的英译输出才有可能。
笔者认为，儿童文学的翻译应根据翻译的具体文本，读者群以及译者的翻译目的制定具体的翻译策略。
一、儿童文学文本翻译的选择标准儿童文学当然是文学。
但儿童文学有其自身特点：“切合儿童年龄特点，适合儿童阅读欣赏，有利于儿童身心健康发展的各种形式的文学作品”（陈子典，2003：43）。
尽管此类作品的受众是儿童，但儿童文学作品的翻译却是由成人来完成的。
在儿童文学文本的翻译中，译界也遵循归化和异化的翻译策略。
前者要求译文符合目的语的表达习惯且原文文化特色受到目的语的文化规约；后者则要求保留源语语言的形式特色和文化因素（刘艳丽，杨自检，2002）。
在实际的翻译过程中，我们当然无法只遵循其中一種方式进行操作，必须同时考虑到原文和译文，尽最大程度的将二者平衡。
正如杨绛先生曾指出的：“译者是一仆二主，同时伺候着两个主人：一是原著，二是译文读者（1998：66）”。
本文将结合译者翻译目的，受众接受和源语文本三方面标准来衡量确立归化异化在儿童文学文本中的翻译应用。
从接受美学角度分析儿童文学作品的翻译策略--以彼得·潘为例
在儿童文学作品的翻译中，运 用接受美学策略能够让译文更 贴近目标读者的心理需求，增 强文化交流的效果。
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通过分析目标读者的审美习惯 和文化背景，可以更好地传达 原作的精神内涵，促进跨文化 理解。
接受美学有助于提高翻译的准 确性和生动性，使译文更易于 被目标读者接受，进一步促进 跨文化交流与理解。
结合文化背景进行适当的本土 化处理，使译文更贴近目标读 者。
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关注儿童文学作品的特殊性， 保持原作中的想象力和创造力。
培养专业的儿童文学作品译者， 提高翻译质量和对目标读者的 关注度。
THANK YOU
汇报人：
翻译策略的创新和 突破有助于推动儿 童文学作品的国际 化发展
从接受美学角度分析儿童文学作品翻译的意义
促进跨文化交流和全球儿 童文学的发展
丰富儿童文学作品的多样 性和创新性
提升儿童读者对不同文化 的理解和认知
增强儿童文学作品的审美 价值和艺术魅力
对未来儿童文学作品翻译的启示
重视目标读者的接受程度，采 用适当的翻译策略和语言风格。
《彼得·潘》的接受美学应用实例分析
儿童读者群体的定位：针对儿 童读者，注重语言的简单易懂 和趣味性的表达。
审美体验的传达：通过生动的语 言和丰富的想象力，将原著中的 奇幻场景和人物形象传达给儿童 读者，激发他们的审美体验。
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文化背景的考虑：在翻译过程 中，考虑到不同文化背景的儿 童读者，对原著中的文化元素 进行适当的调整和解释。
召唤结构：指文本中留下的未确定性和空白，需要读者在阅读过程中通过想象和填充来参与文本 意义的构建。
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摘要：儿童文学作品的翻译是非常重要且有难度的工作。
它需要译者充分了解儿童的语言特征，翻译时首先，要做到译文内容准确表达原著内容；其次，翻译时要让文章语言流畅简短增加其可读性；最后，在翻译的过程中增加文章的文学性。
关键词：儿童文学作品翻译
中图分类号：i28 文献标识码：a 文章编号：1003-9082（2015）10-0182-01
儿童文学是一个人在整个生命过程中最早接受到的文学内容。
它的对象是最为天真单纯的儿童，儿童文学的内容是人生学习的起点。
优秀的儿童文学会让人永远记住，例如灰姑娘、小红帽、白雪公主、哈利波特等等。
因此，将优秀的儿童文学翻译过来变成了至关重要的工作。
一、语言内容准确
二、语言文字的可读性强
可读性是儿童文学翻译的重点内容。
同时也是儿童文学作品的特征，儿童文学的可读性与成人文学不同，它要求适应于儿童的心理特征，语言特征，简洁、流畅、朗朗上口。
儿童文学理论家may hill arbuthnot认为，在儿童文学中，词语应该意义饱满、读来顺畅、听之悦耳。
芬兰儿童文学翻译理论家oittinen认为能够大声朗读是儿童文学及其翻译要具备的典型特征。
儿童文学经常是由老师和家长以读的形式让孩子们接受，孩子们是通过听来认识文学内容的，语言的朗朗上口显得尤为重要。
译者需要熟悉儿童语言的特点和风格，了解他们的语言世界，这样才能适应儿童读者的需求。
翻译时既不能将语言词汇太过成人化，也不能太过幼稚。
太成人化会让儿童失去对文章的兴趣，理解不了语言含义，太幼稚又不利于儿童在阅读时学习新的词汇。
因此，充分的了解儿童的语言特征就显得十分重要了。
在翻译的过程中，语言要简化、有口语感、节奏感和童趣。
儿童文学译者在翻译时尽量多用一些幽默的语言生动的描述内容，这样文学作品就会走进孩子们的内心世界，给孩子带来亲切感，容易产生共鸣。
这也就要求译者对文本内容非常熟悉，再在目标文本中转换和再现文章中含有的幽默因素。
口语化的词汇和简洁的语句是能够吸引孩子们注意的有效手段。
中国孩子在语言上习惯使用短句子，而英文的书面语中经常出现多个从句，这与中国人的语言习惯不相符合，因此，在翻译的过程中可以根据文章意思将复杂的句子变成简短的句子，最好再有一些押韵的句子，这样更加符合孩子们的阅读习惯，增加文章的可读性。
三、具有儿童文学性
儿童文学性通常是指儿童文学作品所特有的符合儿童阅读心理以及认知和审美特征的文学性。
俄国形式主义评家、结构主义语言学家罗曼?雅各布森在20世纪初提出文学性的概念，意指文学的特殊性、本质特征。
他认为，文学作品应该注重“使文本成为艺术品的技巧或构造原则”。
也就是同一类文学作品中普遍采用的构造原则和表现手段，例如，文章结构、情节节奏、语言修饰等，文学性是单纯的语言、结构和形式方面的特点，与文学内容无关。
内容是已经既定好的，但是不同的语言和表达方式会让文章在阅读时产生较大的差异。
不同的作者翻译同一内容可读性就会产生差异。
如前文所述，儿童文学作品在语言上应该简短、口语化，但是这与文学性并不冲突。
儿童作品的文学性对儿童成长有非常重要的帮助。
有一些儿童文学翻译者将工作的重点放在儿童文学作品的“故事情节”上，轻视其语言、结构和修辞手段。
然而，事实上，儿童文学翻译、特别是优秀经典作品复译最大的问题在于无法将作品的文学性再现。
作品原著具有外国文学性，而翻译到中文时就很难保证准确、流畅的同时又有中文的文学性。
在对比多部译本时可以发现，缺乏文学性的翻译作品不能称作好的翻译。
在翻译的过程中检视翻译作品的文学性，可以重新观察原著修辞手段。
修辞手段可以帮助作品增加“童趣”和文学性。
修辞手段有时体现为“可译性”与有时又会变成“不可译性”。
在矛盾中，译者需要重新审视文章整体内容和语言文字，依据中文的阅读习惯和儿童阅读的特征进行判断，以此决定是否需要翻译。
如前文所述，优秀的儿童文学译文需要真实准确再现原文，准确性是再现原著内容的有力保障，可读性和儿童文学性可以促进儿童对文学作品的喜爱，准确性、可读性、文学性三者相辅相成，缺一不可。
共同保证了儿童文学翻译的质量。
参考文献
[1] 曾自立. 英语汉译漫谈[j].中国翻译.1982.
[2] 徐德荣.儿童文学翻译刍议[j].中国翻译.2004
[3] 钱冠连.语用学：统一连贯的理论框架[j]. 外语教学与研究. 2000.
[4] 蒋风.韩进.中国儿童文学史[m].合肥安徽教育出版社，1998.
作者简介：王静，（1990-），女，汉族，籍贯山西省临汾市尧都区，现就读于西安外国语大学英文学院2013级，研究生部外国语言学及应用语言学专业。
主要研究方向：翻译与翻译研究。