接受美学视角下儿童文学作品的翻译研究-以《绿山墙的安妮》为例（英文论文）

I摘要在全球化进程不断加速的时代，多元文化的交流愈发频繁，儿童文学作为连接不同文化、塑造儿童精神世界的重要载体，在跨越国界的过程中发挥着不可忽视的作用。接受美学理论的兴起，为儿童文学翻译研究提供了崭新的视角。本文在接受美学视角下，以《绿山墙的安妮》为例探究在儿童文学作品翻译中，应该怎样更好地适应读者。本论文主要通过以下几个方面来展开论述：首先，简要介绍接受美学的理论基础和发展历程，分析接受美学理论与翻译的关系；其次，总结儿童文学翻译的主要特点以及其他学者对儿童文学翻译的观点。最后，论文将以《绿山墙的安妮》为例证，通过对比分析原文和译文，探讨译者在翻译过程中如何运用接受美学的理论和方法来适应儿童读者的需求和审美期待，并总结提炼出在接受美学视角下儿童文学翻译的策略和方法。关键词：接受美学理论；儿童文学作品翻译；接受美学；绿山墙的安妮

IIABSTRACTInaneraofacceleratingglobalization,theexchangeofdiversecultureshasbecomeincreasinglyfrequent.Asanimportantmediumconnectingdifferentculturesandshapingchildren'sspiritualworlds,children’sliterature(CL)playsasignificantroleindifferentculturalcommunications.TheriseofreceptionaestheticstheoryhasprovidedanewperspectiveforstudyingCLtranslation.Fromtheperspectiveofreceptionaesthetics,thispapertakesAnneofGreenGablesasanexampletoexplorehowtobetteradapttoreadersintranslatingCLworks.Thisthesisunfoldsitsdiscussionmainlythroughthefollowingaspects.First,itbrieflyintroducesthetheoreticalbasisanddevelopmentprocessofreceptionaestheticsandanalyzestherelationshipbetweenreceptionaestheticstheoryandtranslation.Second,itsummarizestheviewsofotherscholarsonCLtranslationandthemaincharacteristicsofCLtranslation.Finally,throughacomparativeanalysisoftheoriginaltextandthetranslatedtextofAnneofGreenGables，thethesisexploreshowtranslatorsapplythetheoriesandmethodsofreceptionaestheticstomeettheneedsandaestheticexpectationsofchildrenreadersduringthetranslationprocess.AnditsummarizesandextractsthestrategiesandmethodsofCLtranslationfromtheperspectiveofreceptionaesthetics.Keywords:theoryofReceptionAesthetics;translationofchildren’sliteratureWorks;ReceptionAesthetics;AnneofGreenGables.IIIContentsTOC\o"1-3"\h\uIntroduction PartIBackgroundInformationInpreviousstudies,thediscussionontranslationtheorymainlyfocusedonthesourcetext.However,theintroductionofreceptionaestheticsprovidedanewperspectiveforthisfield.Thistheoryplacesthereaderatthecoreofliterarytranslation,exploringtheroleandinfluenceofthereaderintheliterarydisseminationprocess.Italsohighlightstheinteractionbetweentheauthorandthereader,arguingthatthefinalpresentationoftheworkisachievedthroughtheauthor'screativeintentionandthereader'sinterpretation,thusmakingtheworktrulymeaningful.1.1OverviewofReceptionAestheticsTheoryThetheoryofreceptionoriginatedinthe1960s.GermanliterarytheoristHansRobertJaussfirstproposedthisconceptin1967,andlateritwasfurtherdevelopedbyWolfgangIser.Sincethen,thefocusofWesternliterarystudieshasundergoneasignificantshift.Insteadofsolelyfocusingonthetextandtheauthor,theemphasisnowliesontheroleofthereader.Theintroductionofthetheoryofreceptionhasgreatlyenhancedthestatusofthereaderinliterarystudies.Itemphasizesthereader’sexperienceduringthereadingprocess.Itregardstheseexperiencesasthedrivingforceforthedevelopmentofliterature,whichreflectstheinnovationofthetheory.Itskeyconceptsincludetheexpectationfieldandthecallingstructure,emphasizingtheinfluenceofthereader’spastexperiencesandculturalbackgroundonthereadingexperienceandunderstanding.Moreover,italsofocusesonthereader’scomprehensionability,imagination,andtheroleofthereaderwhenreadingliteraryworks.Ifsomecontentintheworkisnotfullypresented,thereaderneedstosupplementitthemselves,therebyplayingtheroleofthereader.HorizonofexpectationwasproposedbyJauss.Itreferstothementalexpectationsandknowledge-culturallevelthatreadersalreadyhavebeforereadingliteraryworks.Ithasasignificantimpactonthereaders’absorptionabilityoftheworksandtheirreactionsduringreading.Itencompassestwoimportantaspects:orientedexpectationandinnovativeexpectation.Orientedexpectationreferstothemindsetthatreaderspossessbeforeencounteringliteraryworks.Whenencounteringnewworks,readersinstinctivelydesiretoseefamiliarstorydesigns,whichwillenablethemtobetterresonatewiththetextandhelpthemfulfilltheirreadingexpectations.Thus,itleadstoareadingexperiencethatmakesreadersfeelfamiliarandcomfortable.Incontrast,innovativeexpectationindicatesthatreadersexpecttodiscoverthemes,uniquenarrativetechniques,ornovelideasthattheyhavenotseenbefore,whichcanprovidethemwithmoreinspiringreadingexperiences.1.2RelationshipbetweenReceptionAestheticsTheoryandTranslationTheReceptionAestheticstheoryemphasizestheneedtofocusonthereaders.Thishassignificantlychangedtheresearchandpracticemethodsoftranslationtheory,facilitatingthepresentationoftheconnectionsamongvariouselementsintheplotdevelopmentandthechangesincharacterrelationships.Thistheorystatesthatbeforereading,readersformakindofexpectedvision,whichisshapedbytheirculturalbackground,aestheticexperience,andcognitiveframework.Thisrequirestranslatorstohandletheblankpartsinliteraryworksbasedontheirownreadingexperience,andaccuratelytranslatethoseelementsthatarenotexplicitlystatedinthetext.Duringthetranslationprocess,translatorsshouldalsoadjusttheirexpectedperspectiveandaestheticdistance,takingintoaccounttheexpectedperspectiveofthetargetlanguagereaders,achievingtheintegrationofreaders'expectationsandthetranslation,sothatreaderscanhaveagoodreadingexperience.Thepurposeofliterarytranslationistoprovideauniquereadingexperienceforspecificreadersindifferentcountries.Thetranslatorwilladoptappropriatetranslationstrategiesandinnovativeapproachesbasedontheaestheticpreferencesofthesereaders,inordertonarrowtheaestheticgapbetweenthetranslationandthereaders.Itwillenhancetheaestheticeffect.ReceptionAestheticsprovidesatheoreticalframeworkforthetranslator,whichtellsthetranslatorhowtopresentliteraryworksperfectly.Itemphasizesthatwhentranslating,oneshouldnotbeconfinedtodirectlytranslatingthelanguageoftheoriginaltext,butshouldtakeintoaccounttheneedsofthetargetlanguagereaders,appropriatelymodifyandsupplementthetranslation,sothatthecontentofthetranslationisconsistentwiththeemotionsexpressedintheoriginaltext,andthatthetargetreaderscanalsoexperiencethesameemotionsasthereadersoftheoriginaltext.Therefore,translatorsarenolongermerelypassivetransmittersofthetext,butratherre-creatorsofliteraryworks.Attheendofthe20thcentury,anewconceptemergedinthefieldoftranslationstudies,namelytheculturalturn.Thisconceptstatesthatwhentranslating,thetranslatorchoosestoemphasizeeitherthecultureofthesourcelanguageorthecultureofthetargetlanguage,mainlyreflectingthetranslator’sperspective.Thisviewpointisrathersubjectiveandisnotonlyreflectedinhowthetranslatorunderstandsandtranslatestheoriginaltext,butalsoatthelinguisticlevel.Literaryworksdonotexistinisolation;theyareinfluencedbyculturalbackgroundandliterarytraditions.Theyusuallypossessfixedthemes,forms,techniques,andstyles,andthesepre-existingliteraryelementsnaturallyconveyinformationtoreadersandinfluencetheirreadingexpectations.Whethertheseexpectationsaremetwillaffectreaders’acceptanceandresponsetothework.Whenaliteraryworkmeetsthereaders'expectations,theyarelikelytoresonatewiththetextandhaveasmoothandenjoyablereadingexperience.Onthecontrary,iftheworkfailstomeettheseexpectations,itmaytriggeracompletelydifferentreaction.Ifthereaders’expectationsarenotmet,theywillfillthegapfromanewperspective.Atthistime,thecallstructurewillcomeintoplay.Whenconductingtranslation,translatorsmustmakeuseoftheirownsubjectivejudgment.Whentranslating,thetranslatorshouldtakeintoaccountthereaders’expectationsandconveythecorecontentthattheoriginalworkintendstoexpress.Thisrequiresthetranslatortomaintaintheclarityoftheoriginaltextduringthetranslationprocessandconsidertheopennessofthearticle,thatis,howtoenablereaderstobetterunderstandthemeaningofthearticle.Thetranslatorneedstofindabalancebetweenthesetwoaspects.Thetranslatorshouldchooseanappropriatetranslationmethod,reorganizethelanguageoftheoriginaltext,andconveythemeaningoftheoriginaltextwhilerespectingthesubjectivityofthereaders.Theymustleaveroomforreaderstointerpretfreely,fillinthegapscausedbylanguageandculturaldifferences,andstimulatetheinterestofthetargetlanguagereaders.

PartIIIntroductiontoTranslationofChildren’sLiteratureThedevelopmentofCLhasacleartrajectorythatcanbetracedbacktothemid-15thcentury.Duringthisperiod,CLmainlyexistedasanimportanttoolforeducatingyoungreaders.Itwasnotuntilthe17thcenturythatthisliterarygenrebegantopaymoreattentiontotheneedsofchildrenthemselves.Inthe1930s,therenownedDanishfairytalewriterHansChristianAndersenpublishedFairyTalesToldforChildren,whichwasanimportantmilestoneinthedevelopmentofmodernchildren'sliterature.Sincethemid-20thcentury,researchonCLtranslationathomeandabroadhasexperiencedrapiddevelopment.Thissectionwillconductasystematicreviewoftheresearchonchildren'sliteraturetranslationfrommultipleperspectives.2.1LiteratureReviewofChildren’sLiteratureTranslationIn1976,thethirdsymposiumoftheInternationalAssociationforTranslationStudieswasheld,markingthebeginningoftheglobalattentiontotranslationasanimportantresearchtopic.Thissymposiumdiscussedthetranslationanddisseminationissuesofthisliterarygenre,andtherelatedmeetingrecordsalsostudiedtheinfluencesintermsoflanguage,economy,andideology.Translationworksbecameatoolforconveyingnationalpoliticaldiscourse.Inthe1960s,criticismoftranslationliteraturemainlyemphasizedthetextitselforachild-centeredapproach,andmostscholarsheldachild-centeredperspective.Bythe1990s,scholarsgraduallyrealizedthatwhentranslatingliteraryworks,theuniquenessofthetextshouldbemaintained.Theynotonlyfocusedonthetargetreadersandcultures,butalsopaidattentiontothedifferencesinvariousthemesandtextualfeatures.Basedonthis,theycarriedouttranslationprocessingofthetext.Inthe21stcentury,researchonthetranslationofliteraryworkshasdevelopedrapidlyandbecomeincreasinglydiverse.Manyscholarshaveuseddifferenttheoriestoexpandtheresearchonthetranslationofliteraryworks,resultinginrichanddiverseresearchoutcomes.EugeneNidaproposedthetheoryoffunctionalequivalence,whichemphasizesthattheresponsesofthetargetlanguagereadersshouldbeconsistentwiththoseofthesourcelanguagereaders.Translationshouldconformtothelanguagehabitsoflocalchildrenandshouldbeadaptedtotheirlanguageproficiency.Thegoalistoensurethattheimpactofthetranslatedtextonchildrenreadersissimilartothatoftheoriginaltextontheintendedreaders.Tofollowlanguagehabits,translatorsshouldusesimplelanguageandavoidcomplexsentencestructuresanduncommonvocabulary.InChina,researchonthetranslationofCLhashistoricallybeenmarginalwithinthebroaderfieldofliterature.Thisareaofstudybeganrelativelylateandhasfallenbehinditsinternationalcounterparts.Beforetheturnofthe20thcentury,CLfacedsignificantsuppression,whichdirectlyresultedinaseverelackofdomesticresearchonbothCLanditstranslation.Sincethelatterhalfofthe20thcentury,Chinahasgivenunprecedentedattentiontochildren’seducation.Atpresent,theresearchfocusinCLtranslationliesinmaintainingtheoriginalityoftheworkfaithfully.Onthisbasis,itisnecessarytomeettheexpectationsofthereaders.TheaimistofullyutilizetheeducationalandaestheticfunctionscontainedinCL.Italsoplacesemphasisonreproducingthelanguagestyle,narrativecharacteristics,andculturalconnotationsoftheoriginalwork.XuDerong’sresearchfocusedonhowtoreproducethestyleofliteraryworksduringtranslation.Heproposedthreekeycriteriafortranslation:accuracy,readabilityandliteraryquality.[2]Inhisopinion,whentranslatingCL,itmustbalancefidelity,expressivenessandelegance.Heproposedthatmakingthetranslationcaptivatingiscrucialforthesuccessofchildren'sliteraturetranslation.Moreover,Mr.Xuemphasizedthatthetranslator’sperspectivetowardschildrenisthefoundationfortranslatingCL.Hebelievesthattheeffectivenessofsuchtranslationslargelydependsonthetranslator'sunderstandingandattitudetowardsthisspecificaudience.Hefirmlybelievesthattranslationnotonlyneedstobefaithfultotheoriginaltextandaccuratelyconveyitsinformation,butalsoshouldconsidertheliteraryqualityandattractiveaspectsofthework.Additionally,inthetranslationprocess,thetranslator’sunderstandingofchildrenisalsoanimportantfactor.RenRongrongproposedatranslationethicthatprioritizeschildlikeness.HebelievedthatthemaingoaloftranslationistoenableChinesechildrentoexperiencetheworksofforeignauthorsintheirownlanguagethroughthetranslator’sefforts.HeemphasizedthatwhentranslatingCLworks,oneshouldfocusonpresentingtheinnocenceoftheliteraryworks.Thecontentoftheoriginalworkshouldbeconveyedthroughsimpleandunderstandablelanguage,andthestorylineoftheoriginalworkshouldbepresentedperfectly,showcasingtheappealoftheoriginaltext.Thistranslationmethodrequiresustofocusonthechildrenwhentranslating.ThepurposeoftranslationistoserveChinesechildrensothattheycanunderstandthecharmofforeignliteraturethroughthetranslatedtext.Therefore,thetranslatorshouldconsidertheviewpointsofchildren,payattentiontotheirinterests,needs,andreadingabilities.Inthefieldofcross-languagetranslation,manyscholarshaveputforwardtheirownviewpoints.Theyoungreadershipgrouphasagreatdemandforculturalworks,soChinaneedsalargenumberofliterarytranslationworkstomeetthisdemand.Basedonthis,manytranslationworkshaveemergedinthemarket.However,althoughthequantityoftranslationworkshasincreased,thequalityhasnotimproved.Thequalityofthesetranslationsvariesgreatly,andtheirreadingvaluealsoshowssignificantdifferences,whichmakesitdifficultforthemtofullymeettheexpectationsofyoungreaders.Attheacademicresearchlevel,Chinahasveryfewspecializedinstitutionsdedicatedtocross-languagetranslationstudies.Duetothelackofresearchcapabilitiesandlimitedresourcesinvested,thishashinderedtheprogressofresearchandledtoaslowpaceofrelatedacademicstudies.Thetranslationfieldisfacingsignificantchallengesandurgentlyneedstoestablishascientificandcoherenttranslationtheorysystem.Inthisprocess,theintroductionofReceptionAestheticsisamajorbreakthrough,asthisapproachredefinestheroleoftranslators.Theyarenolongermerelytoolsforlanguageconversion,butinterpretersofthesourcelanguagecultureandcreatorsoftranslations.Asresearchprogresses,moreandmorescholarsarebeginningtorecognizetheimportanceofthistheoryandaregraduallyapplyingittotranslationstudiesandexploration..2.2CharacteristicsofChildren’sLiteratureTranslationCLisacollectionofworksspecificallycreatedforchildren.Theseworksarehighlycharmingandofgreatresearchvalue.Theypossessthefollowingcharacteristics.Firstofall,theyhavesignificanteducationalvalue.MostCLiscreatedbyadultsoradaptedbyadultreaders.Themainpurposeoftheseworksistoeducateandguideyoungreaders.Whenreadingtheseworks,childrennotonlylearnvocabularyandgrammar,butalsogainknowledgeaboutdifferentculturesandcustoms,therebyexpandingtheirknowledgebase.Moreover,theseworkshelpcultivatechildren’scriticalthinkingandenhancetheirabilitytosolveproblemsindependently.Furthermore,theseworkscanalsoassistyoungreadersinestablishingacorrectworldview,outlookonlife,andvalues,havingapositiveimpactonchildren'sphysicalandmentaldevelopment.ThecharacteristicofCListhatitscontentpresentationisveryconcise,andtheexpressionisalsoveryclear.Childrenarerelativelyyoung,andtheirreadingabilityislimited.Therefore,boththeoriginalauthorandthetranslatorwillchoosesimplewordstoensurethatreaderscanunderstandthemeaningofthearticle.Theseelementsnotonlystimulatechildren’simaginationbutalsocultivatetheirinterestinreading.Whentellingastory,itisnecessarytotakeintoaccountthecognitivedevelopmentcharacteristicsofchildren.Whencreatingcharactersanddepictingscenes,conciselanguageshouldbeused,andtheseimagesshouldbepresentedthroughvividnarration.Thisenableschildrentoeasilyunderstandthecharactersandplotsinthebook,facilitatingtheabsorptionofnewknowledge.ThecharacteristicofCLliesinitsdynamicstyleandrhythm.Itcaneffectivelycapturechildren'sattentionandmeettheneedsofdifferentagegroups.CLplaysanimportantroleinenhancingchildren’sintelligence,emotions,andsocialskills.Bycreatingattractivecharacters,designingfantasticalplots,stimulatingchildren'sreadinginterest,helpingthemdevelopgoodreadinghabits,andenablingthemtoeffectivelyunderstandthecontentofthearticlesandimprovetheircomprehensionability.Becausechildrenhavelimitedpatienceandshortattentionspans,CLadoptsaconcisenarrativestyle,withafastoverallpresentation,andissimpleandeasytounderstand.Thisapproachavoidsexcessiveforeshadowingsoasnottodisruptthereadingexperienceofyoungreaders.Thetranslationsoftheseworkswillemployshortandstraightforwardsentences,whichareperfectlyinlinewithchildren’sthinking.Thesesentencesenablechildrentoeasilyunderstandthecontentexpressedintheoriginaltext.Thisapproachplaysasignificantroleinchildren’slanguagedevelopmentandisinlinewiththeircognitiveabilities.Theessenceoftranslationliesinconsideringbothliteraryvalueandreaderacceptabilityduringthetranslationprocess.Thelanguageusedintranslationshouldbevividandexpressive,oftenemployingrhetoricaldevicessuchasmetaphor,hyperbole,andpersonification.Whenchoosingwords,specificandsimpletermsshouldbeused,andsometechnicaltermsshouldbereplacedwitheverydaylanguagethatchildrencanunderstand.Forexample,theuseofonomatopoeicwordsandrepetitivephrasescanenhancethevisualeffectandreflectthevividnessofthetext.Furthermore,thesentencestructureshouldbesimpleandclear,highlightingtheauditoryandvisualexperiences.Thetranslatorshouldretaintheimageryandsoundelementsintheoriginaltexttoalignwiththecognitivelevelandexpressionstyleofchildren.Thetranslatorshouldavoidusingcomplexsentencestructuresaschildrenoftenhavedifficultyunderstandinglongsentencesandabstractconcepts.Bysimplifyingthetextandusingshortsentencesandcolloquialexpressions,thetranslatormakesiteasierforyoungreaderstounderstandandreadthetext.Byadaptingtotheneedsandcomprehensionlevelsofchildrenreaders,thistranslationcanbecomesimpleandunderstandable,andeasytoaccept,therebytrulyservingthereadergroupeffectively.PartIIICaseAnalysisofTranslationofAnneofGreenGablesfromthePerspectiveofReceptionAestheticsAnneofGreenGablestellsthestoryofAnne’sgrowth.Thisstoryisdepictedthroughnumerousdetails,presentingvividscenesandcharacters.Theauthor,LucyMaudMontgomery,employedanarrativetechniquethatinterweavesthefirstandthirdpersonperspectives.ThisenablesreaderstogainadeepunderstandingofAnne’srichinnerworldandtocomprehensivelygraspthebackgroundofthestory.Thistranslationcasedemonstratestheapplicationofreceptionaestheticsintranslation,exploringtranslationpracticefrommultipleperspectives.Thissectionwilldiscusstheliterarysignificanceofthisnovel,analyzingspecificcasesbycomparingdifferenttranslationversions.3.1TheLiteraryStatusofAnneofGreenGablesThestorycentersonthegrowthofAnneShirley,anorphanwhomaintainsheroptimism,imagination,andzestforlifedespitefacingadversity.Annie’sloveforlife,hersensitivitytobeauty,andherpursuitofself-worthtranscendedthelimitationsoftimeandplace,makingheraspiritualsymbolthatcouldtouchpeopleofallages.Anne’scharacterbreaksthecommonimageofaperfectchildinliteraryworks.Shehasbecomeahighlyrecognizablecharacterintheliteraryfield,providingreaderswithauniquereadingexperienceandemotionalresonance.Herimperfectionsmakeherevenmoreendearing,encouragingreaderstothinkmoredeeplyaboutthemessuchasgrowth,education,andemotions.Thisrealisticportrayalofhumannatureimbuesthisworkwithuniversaleducationalvalues.ThetranslatedversionofAnneofGreenGablesholdssignificantresearchvalue.Ittranscendstheboundariesoflanguageandculture,withtheoriginaltextpresentingaveryuniquestyle,andthetranslatedversionalsohasitsowndistinctivefeatures.Theuniquenessoftheoriginalliesinthefactthatitnotonlyembodiesthepoeticnatureoflanguagebutalsoenableschildrentounderstandthroughitscontent.Abalancehasbeenachievedbetweenthesetwoaspects.TheplotispresentedthroughAnne’smonologueintheoriginal,whichreflectstheinnocenceofchildrenandtheaestheticappealofliterature.However,themajorityofthetextisdevelopedthroughdialogue,andthisformposestwomajorchallengesfortranslation.Firstofall,thetranslatormustaccuratelygraspthecharacteristicsofchildren’slanguageandretainthehumorandexaggerationelementsinthedialogue.Whentranslating,onemustnotlosethecharmofthechildren'sworkbyusingoverlyadultlanguage.Secondly,thetranslationmustundergocross-languagelanguagerestructuringbecausethereadergroupisdifferentandthereceivedcultureisalsodifferent.Therefore,thetranslatorshouldnotonlyretaintheimaginationoftheoriginalworkbutalsoadapttotheaestheticpreferencesofthetargetlanguage.WhentranslatingAnneofGreenGables,itshouldreflectthegrowththemecontainedintheoriginalwork,andalsoconformtothelocalculturalvalues.Itmustnotcontradictthevaluesexpressedintheoriginalwork.ThecharacterAnneisdifferentfromthetraditionalperfectmodelimageinCL.Intranslation,differentculturalbackgroundsreflectdifferentvaluesystems.Incollectivistcultures,thetranslatorneedstomodifythedialogueandenhancethedepictionoffamilywarmthtoconformtothelocalvalues.Whileinindividualistcultures,therebelliouscharacterofAnneshouldberetainedorevenemphasizedtoalignwithreaders'appreciationofpersonalfreedom.Duringthetranslationprocess,thecharactertraitsoftheprotagonistshouldbeadjustedaccordinglybasedonthecustomsandhabitsofeachcountry.3.2CaseAnalysisofChineseTranslationsofAnneofGreenGablesAnneofGreenGableshasbeentranslatedintoover50languagesandhassoldmorethan50millioncopiesworldwide.Duetothenumerousdifferentlanguageversions,itisdifficulttoaccuratelydeterminethetotalnumberoftranslations.InChinaalone,between2000and2010,morethan30differentversionswerepublished.ThisincludessixEnglishversions,elevencommonChinesetranslations,twoChinesetranslationswithreadingguides,andtenillustratedChinesetranslations.Since2010,additionalChinesetranslationshavecontinuedtoemerge.AmongthemostrecognizedtranslationsinthepublicdomainareMaAinong’stranslationpublishedbyPostWaveKids,MeiJing’stranslationpublishedbyGoldMye,andGuoPingping’stranslationpublishedbyYilinPress.Thissectionwillcomparethesimilaritiesanddifferencesamongthesethreetranslations,conductadetailedanalysisofMaAinong’stranslation,andexplainthereasonsforchoosingthisspecificversion.3.2.1ComparisonofChineseTranslationsThethreewell-knowntranslationseachhavetheirspecificfocusesduringthetranslationprocess.MaAinongisoneofthetranslatorsoftheHarryPotter.Hertranslationwasmeticulouslyreviewedsentencebysentencebyhergrandfather,MaQinghuai,whoisanexperiencedtranslator.Herworkisdistinguishedbyprecisewritingthatretainsmanybeautifuldescriptionsofscenery.Thelayoutofhertranslationiswell-designed,makingitconvenientforreadingandretrieval.Ma’stranslationstyleissmoothandnatural,effectivelyconveyingtheemotionsandcharmoftheoriginaltext.HavinggainedrecognitionforherworkontheHarryPotterseries,sheisalsobelovedforhertranslationofAnneofGreenGables.MeiJinghasastrongfoundationintranslation.HertranslatedversionfeaturesafreshandnaturallanguagestylethateffectivelyconveystheemotionsandinnocenceofAnnefromtheoriginalwork.Sheisskilledataccuratelycapturingtheessenceoftheoriginaltext.Thenarrativepaceisfast,makingitverysuitableforquickreading.Incontrast,Guo’stranslationadoptslivelyandvividlanguage,whichishighlyconsistentwiththecharacter’spersonality.Theplotispresentedthroughrichvocabularychoicesandafastwritingstyle.Thesentencestructureincludesamixtureoflongandshortsentences,whichmakesthelogicclearandenhancesthespatialsenseinthescene.Thefollowingexamplesofferacomparativeanalysisofthethreetranslatedversions.Sourcetext:“Hedetestedthewaytheyhadofsidlingpasthimtimidly,withsidewiseglances,asiftheyexpectedhimtogobblethemupatamouthfuliftheyventuredtosayaword.”[3]Ma’sversion:“她们鬼鬼祟祟地从他身边溜过，斜着眼睛瞧他一两眼，似乎以为只要她们胆敢说一句话，他就会把她们一口吞下似的；对于她们的这种行径，他简直是深恶痛绝。”[4]Guo’sversion:“他讨厌她们斜着眼、羞怯地从他身边偷偷侧行而过的方式，仿佛如果她们敢说一个字，他会一口吃了她们。”[5]Mei’sversion:“马修向来讨厌女人们怯生生地从他身边溜过。她们还斜眼睨他，一副生怕说出一个字，就会被他一口吞了的样子。”[6]Whenanalyzingthechoiceofvocabula