接受理论指导下的儿童文学英译汉翻译实践报告 以《火翼飞龙》(节选)为例
接受理论指导下的儿童文学英译汉翻译实践报告 以《火翼飞龙》(节选)为例
接受理论指导下的儿童文学英译汉翻译实践报告 以《火翼飞龙》(节选)为例
U.D.C
以《火翼飞龙》(节选)为例
学位申请人: 张彩虹
学 号 : 221055101032
学科专业: 英语笔译
研究方向: 不区分研究方向
指导教师: 张玲
定稿时间: 2023年5月
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Abstract
Abstract
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E-C Translation Report on Wings of Fire from the Perspective of Reception Theory
arousing their interest in reading. Under the guidance of Reception Theory, the
translator puts target language readers at the first place, and helps readers to better
understand the text by using a variety of methods. To conclude, translators are
supposed to meet the horizon of expectation of target readers as much as possible
and achieve the fusion of horizons between the target language readers and the
original text at the same time. This report aims to discuss practical translation
methods through specific case analysis, and provide some help and inspiration for
the translation of children’s literature in the future.
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摘要
摘要
儿童文学对增强孩童的审美意趣、阅读能力以及培养其高尚的道德情操
方面起着不可或缺的作用。相较于成人来说,儿童读者思维简单,认知能力
尚未得到充分发展。由于儿童文学目标读者群体的特殊性,译者需要从用词
和句法结构上做认真考量。本文从儿童文学的审美价值出发,在接受理论三
大核心概念,期待视野,视野融合和文本空白的指导下,对儿童小说《火翼
飞龙》开展翻译实践。笔者在翻译过程中将儿童读者放在中心位置,并且充
分考虑儿童的阅读需要,在具体案例分析中讨论了在词汇和句法和遇到的问
题、难点以及解决方案。
在词汇层面,笔者采用大量叠词、语气词、四字成语等,提高译文趣味
性和可读性。在句子层面,笔者采用了增译和省略的翻译方法使得译文容易
被儿童读者理解。同时,考虑到儿童不同的语言表达习惯和文化背景,译者
采用意译将译文转化为更易被儿童理解的内容和形式以期达到视野融合的目
的。除此以外,拟人化的表达也使译文更加形象化,从而增加儿童读者的想
象力,激起其阅读的兴趣。在接受理论指导下,译者将目标语者放在首要位
置,综合运用多种方法以便读者对文本更好地进行理解,尽可能满足读者的
期待视野,同时达到目标语读者和原文本的视野融合。本篇报告旨在通过案
例分析探讨出有实践意义的翻译方法,期望为今后儿童文学翻译提供一些帮
助和启发。
关键词:儿童文学;《火翼飞龙》;接受理论;翻译方法
III
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Contents
Contents
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E-C Translation Report on Wings of Fire from the Perspective of Reception Theory
II
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Chapter One Introduction
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E-C Translation Report on Wings of Fire from the Perspective of Reception Theory
Since the beginning of the 21st century, the world has been in a state of
mutual exchange and integration, and China’s comprehensive national strength has
been becoming continuously strong. With people’s living standards being
continuously improved, people attach more importance to children's education. In
this context, more and more foreign literary works continue to be brought into the
Chinese market to facilitate the reading of Chinese children, and the demand for
foreign children’s literature translation has also increased sharply. In order to make
the translated children’s literature works better meet the real children’s needs, it is
necessary to choose the appropriate translation theory and translation methods
when a translator is translating this kind of literature. Many scholars believe that
the ultimate goal of translating children’s literature is to serve children, so it is
necessary for translators to put the children at the top position, recognize and
understand things from children’s perspective, and choose words and expression
that children like and can easily accept (Yu, 2004). Therefore, reader-centered
Reception Theory has gradually become one of the main guiding theories for this
special translation act.
In this report, the translator presents a case study of the translation practice of
Wings of Fire, discussing lexical and syntactic problems and solutions. Most
importantly, the whole translation of this novel is the original version. From the
perspective of target readers, the main purpose of translators is to use appropriate
sentences to make the translation easy to be understood by children readers, and at
the same time to increase their imagination and arouse their interest in reading.
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Chapter One Introduction
describing the story in simple and concise words, and presenting the content
vividly. It has a bright rhythm and childlike interest, and strives to cultivate
children’s language expression and external aesthetic and internal imagination (Di,
2016). To sum up, children’s literature generally needs to cover the following two
typical characteristics: (1) It has profound educational significance. Excellent
children’s literature work could educate children to establish a correct outlook on
life and values, cultivate independent thinking and problem-solving ability. (2) The
content is interesting, attractive and vivid. The features of people and various
things described in children’s literature are distinctive. Considering the
particularity of children’s literature, there are also strict requirements for
translators in the process of translation. When translating children’s literature, the
translator should highlight the theme and fully show the childlike interest. In view
of the limited vocabulary and understanding ability of children, the article
structure of the translated text should be relatively simple and the language is easy
to be understood, thus to meet the children’s literary appreciation and acceptance
ability. At the same time, translators should also pay special attention to the
standardization of the use of Chinese language to avoid misleading children. In
terms of content, form and expression techniques, translated works should also be
adapted to children’s physiological and psychological characteristics as far as
possible, and children’s acceptance ability and psychological demands for
translated works should be fully considered. At the same time, translators should
be good at translating from the perspective of children by using humorous
language, so that children can have a strong sense of intimacy during reading. At
present, it goes without saying that a high-quality children’s literature translation
version is of great importance. There are a large number of excellent children’s
literature translations in the market, while some of them are of poor quality, and
this phenomenon must be paid high attention to. Only high-quality translations that
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E-C Translation Report on Wings of Fire from the Perspective of Reception Theory
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Chapter One Introduction
This translation report consists of five chapters. The first chapter is the task
description, which introduces the task background, objectives and significance of
the translation task, and the structure of this report is also included. Chapter two is
about the process of the task containing three main stages: pre-translation
preparation, in-translation process and after-translation. Chapter three is the
theoretical basis or theoretical framework, introduces the three specific concepts in
the theory in details used by the translator in the process of translation under the
guidance of Reception Theory. Chapter four is the most crucial part in the thesis,
from the three dimensions of Reception Theory, namely “horizon of expectation,”
“fusion of horizons” and “indeterminacy,” discusses the case study of translated
text from translator’s translation practice of part of the novel Wings of Fire under
the guidance of Reception Theory. The study will focus on two different aspects:
lexical level and syntactic level. And the chapter five is conclusion including some
gains and findings in the translation process as well as translation techniques
according to different situations.
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E-C Translation Report on Wings of Fire from the Perspective of Reception Theory
This chapter introduces how the translator prepares for the translation, and
what does the translator do during the process of translation and proofreading the
target text. The process of the translation is divided into pre-translation,
in-translation and after-translation process, which are all important to the
translation work and make it more complete, improving the quality of the
translated text.
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Chapter Two Process Description
children’s literature delivers the main idea in a relatively direct way, the children
can get the main idea of the novel easily. As a result, reading relevant children
literature may help translators have a better understanding of these kind of novels
and have a good command of translating the source text.
After all the preparation, the translator begins the translating work. Under the
guidance of the Reception Theory, the translator strives to ensure the accuracy,
readability and literariness of the translated work in order to meet the horizon of
expectation step by step. Generally speaking, the translator’s understanding of the
original work is also very important, thus the translator tries to understand what
the author of the work wants to convey to the readers. As for the novel Wings of
Fire, there are two versions, the one is plain text version, and the other is comics
version. When the translator has difficulties in understanding or is not sure about
something, one of the useful methods is to read the comics version, the pictures in
the book depicting the characters may help the translator to understand the
meaning of the original text. Undoubtedly, it is inevitable that some troubles can’t
be solved immediately, so the translator turns to some dictionaries for some
vocabulary and searches for some information about the unfamiliar terms on the
Internet, and finally figures out the meaning of them. During the process of
translation, the translator puts the children’s reading habit and language
competence at the first place because of the great importance of readers’ central
role and their horizon of expectations. What's more, the translator is supposed to
adopt a variety of translation methods, such as addition, amplification, free
translation, free translation, omission and so on. Since the whole process can’t be
easy, the translator must be determined and prepared to get over various
difficulties during the process.
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There are mainly two steps in after-translation for the translation version.
Firstly, self-proofreading is given precedence to other people’s, the translator reads
the translation for the first time to revise some basic errors in understanding,
format, typesetting and grammar. Secondly, proofreading by classmates and the
professor who can give you some suggestion in correcting the mistakes in
grammars is quite necessary, because the proofreading could help improve the
accuracy, clarity and consistency. Based on the advice on the translation of long
and difficult sentences, the translator revises the translated text once more.
During the after-translation process, under the guidance of the theory, one of
the most important criteria for evaluation of the translated text is that whether the
vivid and attractive expressions are added to arouse child readers’ interests. At the
same time, whether the language style of target text is in accordance with that of
the original text is also regarded as the important standard. At last, the translator
gives the translation version to several primary school students and junior high
school students to read. After that, the translator asks them some questions, which
include whether they can understand the translation easily and whether the
translation texts are interesting. According to their feedback, the translator revises
the translation once more, thus the translation texts can be more accurate and
coherent.
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Chapter Three Theoretical Framework
Reception Theory, also namely reception aesthetics, emerged in the late 1960s
and entered the peak of development after the 1970s. The theory was introduced to
China in the mid-1980s. After it was introduced into China, it exerted a profound
influence on the practice and development of Chinese translation theory. The core
part of Reception Theory is the readers, and the emphasis is on the degree to which
translated works with different themes are accepted by foreign readers. This theory
holds that literary works are created for readers and their literary significance and
aesthetic value can only be realized if they are accepted by readers. This theory
emphasizes the central position of readers in the process of reading, which
provides a new research perspective and research methods for translation studies.
Many translation researchers begin to examine literary texts from the perspective
of readers (Gu, 2020).
Reception Theory focuses on the dynamic relationship between readers,
works and authors, and emphasizes the importance of readers in the whole
translation process. The reader is not a simple and passive receiver in the reception
activity, but an active interpreter and creator. The process of reading a work is not
a process in which the author and the work imbue the reader with images and
meanings, but the reader has a potential horizon of expectation before reading.
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E-C Translation Report on Wings of Fire from the Perspective of Reception Theory
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Chapter Three Theoretical Framework
translation process. The three core concepts of Reception Theory are “Horizon of
Expectations,” “Fusion of horizons,” “Indeterminacy,” and each of them plays an
important role in the whole theory system.
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E-C Translation Report on Wings of Fire from the Perspective of Reception Theory
Jauss also put forward the second core idea of Reception Theory, that is, the
way to change and transcend the horizon of expectations - “Fusion of Horizons.”
He pointed out that when readers are introduced to a new work, the memory of
similar works or aesthetic experience of previous works may come to the readers’
mind, so the readers will compare the past experience with the new vision
embodied in the present work, and the cognitive gap between readers’ inherent
vision of expectation and the new work is called “aesthetic distance.”(Jauss, 1982)
Influenced by various factors, readers inevitably have a kind of “previous view,”
and the author is also restricted by these factors in his creation. If the reader only
reads from the inherent perspective, his understanding will inevitably deviate from
the author’s original intention. For this reason, Reception Theory puts forward the
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concept of fusion of horizons, which not only requires readers to break their vision
of expectations, but also requires writers to integrate the needs of readers into the
whole process of writing in order to achieve vision integration. In order to
integrate the translated text with the readers’ expectations, translators should fully
consider the readers’ acceptance level and choose the appropriate language form
when translating (Zheng, 2021). As a result, the target language readers’
receptivity is quite important.
The fusion of horizons emphasizes the integration of the readers’ perspective
of the original text with their expectation, thus the readers can fully understand the
original text and achieve the best communication effect.
3.2.3 Indeterminacy
The indeterminacy and vacancy of the text was proposed by Iser, also known
as “evocative structure,” is the third core concept of Reception Theory. “Text
vacancy” refers to the content implied or suggested to the reader by the author in
the text. In other words, it is the meaning that the writer does not write or does not
explicitly write, which is often referred to as “overtones.” When “text vacancy”,
which is also called as uncertain information, appears in the text in different
situation, the reader’s aesthetic imagination is often active and rich.
Indeterminacy and vacancy of the text in literary texts, as “summoning structures,”
stimulate readers’ imagination in the process of reading, prompting them to
participate in the composition of text meaning and aesthetic value, and become the
co-creators of literary works (Iser, 1972). Therefore, the Reception Theory takes
translator’s mastery of the uncertainty of the text as an important criterion to judge
the artistry of work, which requires translators to consciously create the semantic
and image “deviation,” stimulating the reader’s re-creativity.
Generally speaking, Reception Theory mainly deals with the relationship
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E-C Translation Report on Wings of Fire from the Perspective of Reception Theory
between authors, works and readers, focuses on readers’ reactions, and aims at
reader’ acceptance. Under the guidance of Reception Theory, translators should
fully take the expectations and aesthetic needs of the target readers into account
when translating, so that the source text can be fully expressed and translators can
successfully understand the source text.
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Chapter Four Case Study
Under the guidance of Reception Theory, the translator analyses the cases
from the lexical level and syntactic level in the children’s work Wings of Fire. At
the same time, the translator also summarizes some helpful methods to solve the
problems during the translation process.
Children’s works are often read out. Translators should carefully study the
rhythm of the original text and read it out loud to grasp the rhythm, intonation and
tone of the story (Oittinen, 2000). Translations of children’s literature with this
kind of aesthetic experience are easy to read and can stimulate children’s positive
emotions in reading.
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E-C Translation Report on Wings of Fire from the Perspective of Reception Theory
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Chapter Four Case Study
form of people, animals and other things through the sound, and after hearing the
sound, the readers can imagine the form and performance of things. At the same
time, the repetition of the same syllable makes the reading sense of repetition rich
with a strong sense of rhythm, so that readers can read the article easily. In the first
example, translation from “loud” to “ 闹 哄 哄 ” vividly illustrates Clay’s mixed
feelings of worry and fear at the moment on Morrowseer’s arrival. In the second
example, “bubbling” is translated into “汩汩,” which vividly describes the sound
of water flow at this moment, arouses the imagination of the reader. Also, it
describes the quiet atmosphere of the river environment where clay is at this
moment, highlighting clay’s lonely mood at this time.
In a word, the repetition of words makes the object to be expressed more
vividly, leading the children to think actively so that they can associate all kinds of
sounds in ordinary life with their own imagination, and better experience the
happiness of reading. As a result, this method of translation would be close to
reader’s current horizon of expectation and achieves the fusion of horizons.
Example 3
ST: The dragonets all looked at Glory, whose scales had gone pale green. Even her
usual aloof expression was gone. She paced around Tsunami’s rock column,
lashing her tail.
TT: 大家都望向葛萝瑞。她的鳞甲变成了浅绿色,平时漠然的神情终于消失
不见。她绕着拴住海澜的石柱来回踱步,尾巴在不停地摇啊摇啊。
Example 4
ST: The eerie little insects pulsed with a greenish light. Glowing tendrils hung
from several of them, like a shimmering star curtain far above him and around him
in the pool’s reflection.
TT: 这种奇怪的小虫子发着一闪一闪的绿光,其中有几只虫子的触须还在闪
烁着,就像是一幅布满星星的帘子,高挂在他的头顶上,又在水里投下无数
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光点,围绕着他。
Analysis: Vision is the derived feeling of pictographic reduplicative words. The
vivid display of pictographic reduplicative words makes the shape of things clearly
emerge in readers' minds, thus stimulating children’s way of thinking and then
recalling the same or similar things (Xiao, 1999). Because of the rich emotional
function of the reduplicative words, the use of them can highlight the emotional
colors of the characters, magnify the joy, anger, sorrow and joy of the characters
for children, so that children can better understand the emotion of the characters in
this scene.
In example 3, “lashing her tail” is translated as “尾巴在不停地摇啊摇啊,” it
helps to show the scene of Glory pacing around the stone pillar at this moment,
reflecting the worry in Glory’s heart after hearing the news that the guardian
dragon might kill her, and her eagerness to quickly put up with a solution. In
example 4, “greenish light” is translated as “ 一 闪 一 闪 的 绿 光 ,” which vividly
shows the convergence of numerous glowing insects in the cave and brings to the
reader the picture that Clay is seeing at this moment.
To sum up, these common words become very attractive after repeated
superposition, which makes the expression of words more powerful in the aspect
of situational awareness and emotional expression. The use of these kinds of
phrases tries to get close to the field and life experience that readers are familiar
with, reaching to readers’ horizon of expectation help them to understand the
original text to achieve the fusion of horizons.
The four-character phrase is mainly divided into two categories: idioms and
words, which are widely used in both written and spoken Chinese. Generally
speaking, the Chinese four-character phrase has three advantages: the content
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Chapter Four Case Study
concise and comprehensive, the form is neat and symmetrical, and the
pronunciation is pleasant to the ear. The proper use of four-character phrases in the
translation can give the children great convenience to read the texts more easily,
and helps the translation become smoother and more elegant at the same time; It
also contributes to the attraction and vividness of the translation, and improves the
sense of symmetry and rhythm of the translated language (Hu, Peng, 2015).
Example 5
ST: He could tell that Tsunami was thinking hard. She kept looking at him like she
wanted to say something, then stopped herself.
TT: 他看得出来,海澜正在绞尽脑汁想着什么,她不停地向自己看过来,却
欲言又止。
Example 6
ST: Clay wasn’t sure of that at all. But he wasn’t about to add “whining” to the list
of things wrong with him.
TT: 克雷自己却一点儿都不确定,不过,他并不打算在他的失误清单上再加
一条“自怨自艾”。
Example 7
ST: The waterfall poured down a cliff that towered over them, with even higher
mountains beyond. The three moons were low in the sky.
TT: 在他们面前,悬崖高耸,激流飞坠,后方是更加雄伟的崇山峻岭,三个
月亮低挂天空。
Analysis: The four-character phrase is representative in Chinese, with concise and
vivid features. At the same time, it is the origin from certain cultural background
and historical stories, and is widely used in both written and spoken language. The
language in translation text will become more vivid and childlike if the
four-character phrases are used, and also the children are allowed to acquire a
language expression unconsciously, so that the children are naturally and
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E-C Translation Report on Wings of Fire from the Perspective of Reception Theory
The style of children’s literature requires language that is not only full of
meaning, but that pleasant to hear and pleasant to read. Modal particle is the
specific word added to the sentence by the speaker to express his or her feelings,
attitudes or intentions towards the content of communication, such as euphemism,
speculation and emphasis (Xu, 2000). It’s quite different between English and
Chinese tone systems. Chinese mainly uses intonation, adverbs of mood, modal
verbs, interjections and other means to express mood, so modal particle is one of
the most prominent features of Chinese. The main function of modal particle is to
strengthen the feelings expressed in language, which is reflected in both written
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Chapter Four Case Study
and oral expression. In the translation of children’s literature, proper and accurate
use of modal particle is needed to make children get tangible feelings from the
texts and increase children’s interest in reading.
Example 8
ST: Glory’s eyes glinted. “I can think of a few scrolls I’d like to burn.”
Clay grinned at the shocked expression on Starflight’s face. “Yeah, me too,” he
said. “Throw The Sluglike Qualities of MudWings on there and think of me.”
TT: 葛萝瑞眼睛一亮。“我已经想好烧哪几卷书啦。”
看到星飞脸上大惊失色的表情,克雷笑出了声。“耶,我也一样,”他说,
“帮我把《泥翼龙的鼻涕虫特性研究》这卷书烧掉吧。”
Example 9
ST: “It’s — well —” He’d never seen Tsunami stammer over anything. Now he
was really curious.
“Tell,” he said, splashing her.
“You know, you’re doing that thing you do,” she said, “where you talk about
something ridiculous so you don’t have to deal with something serious.”
“Am not!” Clay protested. “You’re the one who’s ducking the question.”
TT:“这个嘛……嗯……”海澜支支吾吾地说。他从没见过海澜这么扭扭捏捏
的样子,克雷更加好奇了。
“快说嘛。”他朝她泼水,催促道。
“这个嘛,你又来了,”她说,“你故意胡说八道,逃避了重要的问题。”
“我才没有呢!”克雷反驳道,“你才是故意岔开话题呢。”
Analysis: In example 8, the use of modal words “啦,” “耶,” “吧” show Glory and
Clay’s excitement and happiness when they learn that they need to burn the scroll
they have been learning to make smoke, and also reflects the playful nature of the
little dragon. In the example 9, placing the word “嘛” at the end of the sentence
would more vividly reflect the hesitation and shyness of the Tsunami because the
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Seawing’s scales are glowing to attract the opposite sex. Meanwhile, the modal
word “呢” can better reflect Clay’s eagerness to know the answer at that time.
In the process of translating works into Chinese, the translator’s suitable use
of Chinese modal particles helps to perfectly present the tone expressed by the
English language and morphological changes, reproduce the emotion of the
original English text, so as to let children readers appreciate the charm of the
original text. At the same time, the use of modal particles is in line with the
expression habits of children, meeting the expectations of children readers, more
conducive to attracting readers’ interest in reading. As a whole, this method of
translation puts readers at first place, meeting the children’s reading and
expressing habits, achieving the readers’ horizon of expectation and fusion of
horizons.
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Chapter Four Case Study
were eating her alive, grays and browns and blacks crept over her scales.
TT: “说对啦。”葛萝瑞说。此刻,她正趴在地面上。慢慢地,她的鳞甲逐
渐呈现出灰、黑、褐三种颜色,仿佛她正一点点地被岩壁吞进去。
Example 11
ST: It was peaceful and creepy at the same time, with all those star-worms glowing
overhead like a million burning eyes.
TT: 这儿一片静谧,又带着几分阴森,发光虫像星星一般在头顶闪烁,犹如
千百万只亮晶晶的眼睛看着他。
Analysis: In example 10, “the stone were eating her” is translated to “仿佛她在一
点一点被岩壁吞进去.” In the sentence, “eating” are used to describe a person, the
translation more vividly shows the dynamic process of Glory’s changing body
color as it gradually blends into the rock. In the example 11, “with all those
star-worms glowing overhead like a million burning eyes” is translated to “犹如千
百 万 只 亮 晶 晶 的 眼 睛 看 着 他 .” In the sentence, “ 眼 睛 看 着 他 ” are used to
describe a living thing, here it endows the glowing light vitality. The vivid
translation shows the dynamic movement of those glowing worms, and also it
highlights the tranquility and darkness of the environment in the cave.
The words become more interesting and the contents will allure children to
continue their reading if such kind of description is used in translation. It enhanced
the vivid tone in the original text and the translated text becomes more appealing
and more in accordance with children’s reading ability. As a whole, the use of
personification expressions could catch the eyes of young readers more, conform
to children’s horizon of expectation and achieves the fusion of horizons, and leads
the readers to understand and accept the contents of the texts more easily.
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cognition. Children’s language and cognitive ability have their age characteristics,
so children’s vision of expectation will also affect the translating methods used. In
terms of sentence syntax, the biggest difference between English and Chinese is
that English syntax emphasizes hypotaxis, while Chinese sentence emphasizes
parataxis (Jia, 2002). That is to say English pays attention to form and structure,
and often expresses grammatical meaning and logical relations with various means
of connection. However, Chinese seldom uses or even does not use formal
connection means, focusing on invisible coherence. According to the view of
Reception Theory, the literary acceptance ability of children is quite different from
that of adult readers. Therefore, the translator should use simple vocabulary and
sentence patterns which are easy to be understood, and adopt different translation
methods to handle various kinds of sentences so that the meaning of the original
text can be accepted by children more easily.
Based on the concept of blanks in the translation process and the readers’
Reception Theory, some of the blanks need to be filled a little, while some need to
be preserved. The main purpose of the source text is to present a complete and
impressive story to the target readers, so the translator needs to adopt different
translation methods according to specific situation to meet the readers’ horizon of
expectation.
Example 12
ST: “Oh,” Clay said. “Well, that’s good, isn’t it? Did he say when you’ll get your
powers?
TT:“哦,”克雷说,“好吧,这难道不好吗?那他有没有说你什么时候会得
到读心术和预知未来的能力?”
Example 13
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ST: “But you already know everything!” Clay said. “You have to be the smartest
dragonet in all of Pyrrhia. Couldn’t he tell that by reading your mind?”
TT:“可是你什么都知道!”克雷说,“你是全庇利亚最聪明的小龙,难道他
没通过读心术判断出来吗?”(庇利亚大陆,生活着天翼、海翼、冰翼、泥翼,
夜翼、雨翼七大龙族。)
Analysis: In example 12, the word “powers” is translated as “读心术和预知未来
的能力,” the translation adds specific powers on original information. This method
is focused on children readers and reinforces the memory of children of the unique
abilities of the Nightwing. In example 13, the translation adds an explanation of
the proper term “Pyrrhia” to make it easier for children to understand, it also
highlighting Starflight’s intelligence by describing the vastness of the continent. So
addition in translation could broaden readers’ horizon and meet their horizon of
expectation.
Example 14
ST: Clay raced into the big cave with Starflight close behind him. He skidded to a
halt, horrified.
TT: 克雷跑进巨大的洞室,星飞紧随其后。看到眼前的一幕,克雷万分震惊,
不由得收住了脚步。
Analysis: In example 14, the translator adds a sentence “看到眼前的一幕” before
the sentence “He skidded to a halt, horrified.” The addition not only makes the
sentence structure more complete, but also shows the sight of Tsunami was
chained by Guardian dragons for readers, which is better for readers to understand.
However, if it was translated directly from the original text, the readers might feel
that the sentences were not connected properly, resulting in semantic ambiguity
and difficulty of understanding.
Therefore, taking the self-horizons of the target readers into consideration, it
is necessary to integrate the “horizons” of target readers into the authors’ so as to
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Chapter Four Case Study
TT: 河水狭窄,水流湍急,带着他向前急冲,根本不用他用力。
Analysis: Omission translation refers to the deletion of duplicates and redundant
words in a translation without changing the meaning of the original text, which
aims to ensure the translation can be smooth and concise.
In example 15, “cold” and “chill” both have the meaning the someone has the
freezing feeling, so in the translation we are supposed to omit one of them, and the
original meaning hasn’t been changed. And in example 16, “it” refers to “the river.”
So if we repeat these words and sentences while we are translating the original text,
there will be many redundant information in the target language. Meanwhile, the
accuracy of the translation is guaranteed while reducing these unnecessary
contents, so the quality of translation is ensured. Therefore, according to the
thinking mode and language expression habits of the target readers, the translator
needs to simplify sentence structure by means of omission translation, so as to
achieve the purpose of meeting the horizons of expectations.
These examples show that when encountering more complex or redundant
English expressions, translators need to compare the differences between Chinese
and English children’s languages, and use methods such as splitting or ellipsis to
make the translation conform to the preferences and reading habits of Chinese
children, so that the reading process can be more attractive and the translation texts
can be more interesting for children. The purpose of omission is to lead the
translation smoother and more consistent with the habits of target readers, so in
this way, the translation text becomes more concise which would be more conform
to readers’ horizon of expectation and then achieve fusion of horizons.
Once children decide that literacy requirements are beyond their comfort zone,
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reading becomes an unbridgeable mountain, and once they stop reading, the act of
translation loses its meaning (Coppard, Newbery, 2013). Free translation refers to
the translation according to the general idea of the original text, not to do the word
for word translation (different from literal translation). It is often used in the
translation of sentences and phrases, and is mainly applied when the source
language and the translation reflect great cultural differences (Xiong Bing, 2014).
Under the background of cross-cultural communication, free translation
emphasizes the cultural system of the target language and source language. And
free translation reflects the differences of different languages in many aspects,
such as language, religion and society. In this translation report, the free translation
method is adopted in many places, the translator converts the original text into the
text that can reflect the linguistic characteristics of the target language readers.
To be more specific, free translation means minimizing the unfamiliarity of
the target text for readers and the translation should be familiar to readers and
consistent with the original meaning. According to free translation, the translator is
supposed to meet readers’ horizon of expectations through the analysis of readers’
culture, cognition and language competence. At the same time, it could help the
target readers to understand the original meaning of the text more easily, thus
achieving the fusion of the horizons. Therefore, when translating literary works,
translators should properly combine the context, adjust and add some explanation,
realize free translation, which can better help readers to deeply understand these
novel things and better integrate into the fictional world of the works.
Example 17
ST: “He’ll find us a SkyWing,” Kestrel said. “Properly this time. No colorful
substitutions.”
TT: “他会找头天翼龙来,” 红隼说,“这样才对,不会再有那个花里胡哨的
冒牌货了。”
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TT: “他肯定会的,”韦伯说,“虽然他笨得像块石头,不过对伙伴掏
心掏肺。”
Example 19
ST: So can we steal Dune’s rock?” Sunny suggested.
“Terrible idea,” Glory said immediately.
TT:“我们能去偷沙丘的石头吗?”沙霓提议道。
“这简直是馊主意。”葛萝瑞立即说道。
Analysis: In example 18, the phrase “he’s devoted to the other four” means
that Clay is loyal to his friends and would spare no effort to do anything to help
them. The four-character phrase in Chinese “ 掏 心 掏 肺 ” perfectly conveys this
meaning to the target readers. In example 19, “terrible idea” is actually could be
translated as “糟糕的主意”and “这主意 真是糟透了,” but “ 馊主意” is more
indicative of the fact that Sunny’s plan can’t be implemented at that time, and the
expression with Chinese characteristics is better for children to understand.
Therefore, when some words in Chinese are exactly consistent with the
context of the original text, free translation helps the target text better meet the
habit of the target language readers on the basis of accurately expressing the
meaning of the original text, and meet the requirements under the guidance of the
Reception Theory.
Example 20
ST: Clay flattened himself to the grass, feeling the warm earth crumble
around his legs and clump against his scales, scents of green and brown and buried
sunshine overwhelmed him.
TT: 克雷四仰八叉地躺在草地上,感受着腿边泥土的松软和温暖,还有
硌着鳞甲的土块的硬实。绿色的草地和棕色的泥土,迷人的芬芳中又夹杂着
阳光的气息,令他深深陶醉。
Analysis: The difference between English and Chinese mainly is that they are
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Chapter Four Case Study
hypotaxis and parataxis respectively. In English sentences, there are many ways to
connect them, with complex sentence patterns and long syntactic structure
conveying the complete information. Because of a variety of adhesives, English
sentences are free and flexible in logical order and semantic center of gravity
arrangement, just like a bamboo with distinct branches (Zhang, 2018). However,
Chinese is usually not accustomed to long sentence patterns, and short sentences
are often used in writing, with compact semantic information. Therefore, when
translating long English sentences, the long sentence pattern with a large number
of words should not be copied, otherwise the fluency and readability of the
translation will be reduced a lot.
So here the example is a long sentence, which is cleverly combined with
several conjunction words “and,” and each of them is indispensable. The whole
sentence shows that Clay is lying comfortably on the grass after they are out of the
dark cave. If the sentence length of the original text is completely translated word
by word, the target text is obviously not in accordance with the expression habits
of Chinese. So that the target text may become a kind of “Translationese,” and it
cannot be integrated into the target language. Therefore, by using free translation
of this example sentence, each part connected by “and” in the long sentence is
translated as a short independent Chinese sentence, and then the hidden meaning in
the long sentence is integrated into another independent sentence by using Chinese.
At the same time, the independent sentence is divided into several sentences and
the word order of the original text is adjusted so that the translated text becomes
more coherent and smoother. This way of translation is more conducive to the
understanding of children readers, meets the expectations of readers’ horizon, and
achieves the fusion of horizons at last.
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Chapter Five Conclusion
translator should use simple vocabulary and sentence patterns which are easy to be
understood, and adopt different translation methods to handle different kinds of
sentences so that the meaning of the original work can be accepted by children
easily. As a result, the translator could use personification expressions to catch the
eyes of young readers and conform to their horizon of expectation, thus the
understanding and acceptance of the meaning of the translated text will be much
easier. At the same time, addition will help present a complete and impressive
story to the target readers and omission could relieve the difficulties in reading and
understanding to some extent. Besides, free translation will enable the target
readers to understand the original meaning of the text more easily by taking their
culture background and expression habits into consideration, thus achieving the
fusion of the horizons which can better help readers to deeply understand these
novel things and better integrate themselves into the fictional world of the works.
The children, as the special reader group, based on the previous knowledge
and experience, they have their own horizon of expectations, and the translator
should adopt suitable methods to cater to the children’s different horizon of
expectation. Besides, excellent translated works of children’s literature could help
to improve children’s logic, understanding and thinking ability, so the good
translated text version plays an important role in the growth and development of
children. In the process of translation, it is necessary to bear in mind that children
are the target readers of this kind of text. So the translator is supposed to adopt
suitable translation methods to cater to their horizon of expectations in view of
target readers’ language and life experiences. First of all, translation methods of
addition, omission and free translation are applied to keep the flavor of the original
text and satisfy their horizon of expectations. And then the translator is supposed
to take readers’ acceptance and response into consideration, because the work
could truly benefit to children for their development if the meaning of it can be
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successfully delivered to the readers. What’s more, the reduplicative words, modal
particles and four-characters phrases should be applied appropriately so that the
translation can more accessible, vivid and imaginable.
However, there are also some limitations in the translation practice. Firstly,
examples from this novel in these several chapters are not adequate so that they
can’t present and cover all problems in children’s literature. Secondly, the foreign
materials and literature collected by the translator are not comprehensive enough,
which leads to the lack of in-depth study of translation. Thirdly, because the
translator does not grasp the cognitive and thinking ability of children accurately
in the process of translation, the translator finds it difficult to achieve a balance
between the omission and preservation of the information in the original text.
Generally speaking, Reception Theory mainly deal with the relationship
between authors, works and readers, focuses on readers’ reactions, and aims at
readers’ acceptance. Therefore, in the process of translating children’s literature
works in the future under the guidance of Reception Theory, translators should put
the target readers at the top position, fully take the expectations and aesthetic needs
of the target readers into account when translating, so that the source text can be
fully expressed and the translator can successfully understand the source text.
Undoubtedly, translators should extensively learn different kinds of knowledge to
improve translation skills and actively apply to practice. As a result, after learning
the Reception Theory, we have known that we need to use suitable personification
expressions, reduplicative words, modal particles and four-characters phrases to
cater to the needs of children readers. What’s more, we are also supposed to
deepen our understanding of the difference between English and Chinese, so that
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Chapter Five Conclusion
we are able to translate the source language to the target language in the suitable
expressions which could be understood by children. Besides, translators should
read enough Chinese and foreign children’s literature works, grasp the style of
such kind of works, so as to better understand the works and improve translation
ability. All in all, it is expected that translators would make efforts and contribute
their own strength to the vigorous development of children’s literature translation.
Children at different stages of life may have distinctive features of cognition,
psychology and thinking habits, so we’re supposed to use more energy to complete
a good translation of children’s literature, especially under the perspective of
Reception Theory.
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References
[1] Coppard, Y.& Newbery, L. 2013. Writing Children's Fiction [M]. England:
Bloomsbury Academic.
[2] Iser, W. 1972. The Reading Process:A Phenomenological Approach[J].New
Literary History 3(2):279-299.
[3] Iser, W. 1971. Indeterminacy and the Reader's Reception in Prose Fiction [M].
New York and London: Columbia University Press.
[4] Jauss, H. R. (1982). Toward an Aesthetic of Reception[M]. Minneapolis:
University of Minesoda Press.
[5] Jauss, H. R. 1970. Literary History as a Challenge to Literary Theory[J]. New
Literary History 2(1):7-37.
[6] Langacker, R. 1987. Foundations of Cognitive Grammar [M]. California:
Stanford University Press.
[7] Oittinen, R. 2000. Translating for Children [M]. New York& London: Garland
Publishing.
[8] 狄东睿. 2016. 儿童文学翻译发展研究[J]. 中国翻译 (4):35-37.
[9] 顾明栋. 2020. 读者型翻译与作者型翻译——谈一个理论联系实践的翻译
理论[J]. 山东外语教学 (6):106-117.
[10] 黄光伟. 2001. “期待视野”与接受主体审美心理结构的建构、调整[J]. 北
方论丛 (3):72-77.
[11] 胡 海 涛 , 彭 贝 妮 . 2015. 英 汉 互 译 中 的 汉 语 四 字 结 构 [J]. 科 技 视 界
(09):139.
[12] 贾德江. 2002. 英汉语对比研究与翻译[M]. 长沙:国防科技大学出版社.
[13] 李 新 , 徐 岩 . 2011. 儿 童 文 学 翻 译 中 的 归 化 和 异 化 [J]. 语 言 研 究
(2):152-153.
[14] 罗杰·福勒. 1977. 语言学与小说[M]. 於宁, 徐平, 昌切译. 重庆:重庆出
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版社.
[15] 刘小霞.2012. 叠词在儿童文学翻译中的运用[J]. 海外英语 (2):146-147.
[16] 萧立明. 1999. 系统功能观与辩证论译[J]. 中国翻译 20(1):15-17.
[17] 徐晶凝. 2000. 汉语语气表达方式及语气系统的归纳[J]. 北京大学学报
(哲学社会科学版) (3):136-141.
[18] 熊兵. 2014. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”
和“翻译技巧”为例[J].中国翻译, 35(3):82-88.
[19] 于虹. 2004. 儿童文学[M].北京:人民教育出版社.
[20] 姚斯,霍拉勃. 1987. 接受美学与接受理论[M]. 周宁,金元浦译.沈阳:
辽宁人民出版社.
[21] 朱立元. 2005. 当代西方文艺理论[M]. 上海: 华东师范大学出版社.
[22] 朱立元. 2004. 接受美学导论[M]. 合肥:安徽教育出版社.
[23] 郑 剑 委 . 2021. 翻 译 接 受 研 究 的 界 面 与 方 法 [J]. 山 东 外 语 教 学
(3):118-127.
[24] 张丽. 2018. 英汉对比视角下大学英语翻译教学的几点思考[J]. 湖北师范
大学学报(哲学社会科学版) 38(6):124.
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Appendix
CHAPTER 5 第五章
It seemed like a long time later when 似乎过了很久,星飞终
Starflight finally slunk back into the main hall 于回到了主厅,一言不发,
with Morrowseer close behind him. Clay 紧接着明日视也跟了出来。
couldn’t tell whether Starflight had told 克雷无法辨别出星飞到底有
Morrowseer the truth — that he didn’t have 没有把真相告诉明日视——
visions or read minds. He was just ordinary, 他不能预见未来,也不会读
like the rest of the dragonets. But who would 心术。他和其他四只小龙一
be brave enough to tell Morrowseer that? 样,都是那么的普普通通。
The enormous NightWing slithered off to 不过,谁那么胆大把这事情
the guardians’ cave without a word to Sunny or 真相告诉明日视呢?
Clay. Starflight glanced at them, then turned 这只体型巨大的夜翼龙
and headed for his sleeping cave. 对沙霓和克雷什么也没说,
Clay hurried after him. 向守护龙洞穴慢慢走去。星
“What happened?” he asked. “What did 飞只是看了他们一眼,然后
he say to you?” 转身走向自己的睡穴。
“I’m not supposed to talk about it,” 克雷向前追去。
Starflight said stiffly. He sat down in the “怎么样了?”他问道,
middle of their cave, his wings askew behind “你们都说了些什么呀?”
him, and started poking through the scrolls on “我没法说。”星飞冷
the floor. 冰冰地答道,他坐在室内正
“It’s over here,” Clay said, nudging a 中央,翅膀在他身后微微倾
fat scroll with silver letters that had rolled 斜,在地上的书卷堆里翻找
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你是夜翼族的龙。”
Starflight fidgeted with the scroll, shredding a 星飞发出了一声悠长而疲
corner of it between his claws. Clay had never 惫的叹息。
seen him upset enough to damage a scroll “没错,”他说,“事实
without noticing. He wished he could say 上他就是这么说的。”
something helpful, but he couldn’t think of a “噢,”克雷说,“好吧,
single useful thing to say about NightWings. 这难道不好吗?那他有没有说
“At least you’re not a 你什么时候会得到读心术和预
RainWing,” he tried. “Did 知未来的能力?”
Morrowseer say anything about 星飞不停地用爪子翻着卷
Glory?” 轴,一副漫不经心的神态。突
Starflight frowned at him over the edge 然间他划破了书页的一角。他
of the rock. “Not much. He said, ‘Don’t worry 有什么烦心事,克雷从来没有
about the RainWing. I’ll take care of it.’ ” 见过他这么烦恼过,居然会失
Clay felt a cold chill climb up through 手把划破了他心爱的书。他很
the stone floor and spread through his 想做点什么可以帮助星飞的事
scales. “What does that mean? What’s he 情,可是他也不了解夜翼族,
going to do?” 想说点什么都说不出来。
“How should I know?” Starflight “你可以想想你不是雨翼
poked his nose back into the scroll. 龙一族,”他试着说了一句,
“Maybe she’ll get to go home. She’s “明日视说了什么关于葛萝瑞
probably the luckiest of all of us.” 的事情吗?”
The pulse of fear pounding in Clay’s 星飞眉头紧蹙,他坐在石
head disagreed. He couldn’t see the guardians 坎上,向克雷望去。“没说什
just releasing Glory, not after all the years of 么,只说了一句:‘放心我知
secrecy. 道怎么做。’”
“We have to go spy on them,” he said, 克雷只觉有一股寒气直窜
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来,他还没这么开怀大笑过。
“What are you doing?” Sunny’s 尽管忧心忡忡,克雷也非常欣
anxious voice echoed across the main hall. 慰。
“What’s that for?” The heavy tread of
dragon footsteps reached their ears, along “你们都在干什么?”沙霓
with an ominous clanking. “Stop! Wait! 焦虑的叫喊声突然传来,声音
You don’t have to do that!” 在主厅里回荡。“为什么要这
There was an enormous splash. 么做?”沉重的脚步声传进他们
Clay raced into the big cave with 的耳朵,伴随着令人不安的金
Starflight close behind him. He skidded to a 属撞击声,“住手!不要!你
halt, horrified. Kestrel and Dune were standing 们大可不必这样!”
on the bank of the river, holding a length of 河水爆发出哗啦一声巨
iron chain between their talons. Behind them, 响,震耳欲聋。
Morrowseer was holding Sunny back with his 克雷跑进那间很大的洞
tail as the tiny golden dragon tried to climb 室,星飞也随即赶到。看到眼
over him. 前的所发生的事情,克雷只觉
Webs emerged from the river, dragging a 可怕到颠覆自己的想象。红隼
writhing, hissing ball of blue scales. Kestrel 和沙丘就站在河岸边上,爪间
and Dune threw the chain around Tsunami’s 一条长长的铁链。在沙丘他们
neck and wrapped it around one of her legs. 的身后,小金龙沙霓拼命想冲
The three guardians hauled her over to one of 过去阻止,然而明日视用尾巴
the rock columns that stretched from the floor 拦住了他。
to the ceiling high above. Dune flung the 韦伯从河中走出来,把一
chain around the column twice, binding 个蓝色鳞甲球拖到岸边,海澜
Tsunami with barely three steps to move in 在不停吼叫着。海澜的脖子被
any direction. 红隼和沙丘用铁链套住了,还
Kestrel took the two ends of chain and 有她的一条腿也被紧紧拴住。
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matters.” “你还以为你出生在一个
“Why are you doing this?” Sunny cried. 高贵的 家族呢,别做白日梦
“Tsunami’s the good one! She’s wonderful! If 了,”红隼讽刺说道,“你们
anyone can save the world, it’s her.” 的生死无人在意,最重要的是
“Actually, tiny SandWing,” Morrowseer 你要活到那一天去实现那个预
rumbled, “the dragonet you should believe in is 言,然后把你交给和平之爪。”
Starflight over there.” He nodded at Starflight, “你们凭什么这样?”沙
still rooted in place by the sleeping cave. 霓哭喊着,“最厉害的就海澜!
Starflight ducked his head. “NightWings are 她才是那个能拯救世界的龙。”
natural leaders. You do what he says, and “可是沙霓呀,”明日视
you’ll be all right.” 低沉着说道,“星飞才是你们
Clay glanced over at Starflight and saw 应该追随的小龙。”星飞还一
Glory standing in the archway of her own 脸懵地站在睡穴中,他朝他点
sleeping cave. Morrowseer narrowed his 头示意,星飞微微俯首。“夜
eyes at her. 翼族注定就是统领,你们只要
“I’ll be back tomorrow,” he said to the 听他的指挥,就出不了什么差
guardians. “To make sure that everything 错。”
has been … dealt with.” 克雷看了一眼星飞,还
“We understand,” Kestrel said. Together 看到了葛萝瑞站在自己睡穴
she and Dune rolled the boulder aside. 的洞口边,她的全身显现出
Morrowseer squeezed through the gap and 浅蓝色。明日视眯着眼睛看
disappeared into the blackness without a 了一眼她,然后转身走向那
backward glance. 块堵住洞穴出口的巨石。
“This is for your own good,” Webs said, “我明天还会过来,”
stopping in front of Tsunami. 他对着守护龙说,“来看看
She raked her talons at him, and he 你们是否都把事情办好了。
stepped back. “We only want to keep you “明白。”红隼答复完
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quiet.” 他们知道正义何在!小龙万
Tsunami paused, glaring at her 岁!”
mutinously, then took another breath in and “都是你的错,”沙丘
opened her mouth. 冲韦伯愤怒吼道,“我早就
“Or we could chain up one of your 说过不要教他们唱那首要命
friends,” Kestrel offered. “Perhaps Clay 的曲子。”
would like to spend the night hanging from “啊,小龙们就要来
a stalactite, so you have some company out 临!”海澜唱得更大声了。
here.” “我们这里多的是铁
Clay shifted uneasily on his feet, 链!”红隼在她耳边吼道,
wondering if there was anywhere he could hide “如果我想让你闭嘴安静下
out of Kestrel’s reach before she could grab 来的话,我可以找一条来捆
him. 住你的嘴巴。”
Tsunami snapped her jaws shut and lay 海澜顿了顿,怒视她一
down with her head turned away from all the 眼,深吸一口气后又张了张
dragons. Her gills fluttered furiously, but she 嘴。
kept quiet. “要不我们把你的朋友
“Much better,” Kestrel said. She 们都给捆起来。”红隼特意
stomped off to her tunnel, her red scales 这么对海澜讲,“也许克雷
flaring brightly in the fire’s reflection. Webs 觉得钟乳石上睡一晚比较有
followed her with his wet tail leaving a 趣,这样你们还不会孤单。”
darker trail behind them. 克雷突然间感到紧张不
Sunny pounced on Dune’s tail before 安,他挪动了一下自己的脚
he could go after them. “Please don’t 步,希望可以找到一个地方
leave her like this,” she said. “I know 让自己躲开红隼来抓他的爪
you’re not that mean.” 子。
Dune shook her off. “We’re doing 海澜猛地住嘴,乖乖趴
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惑了,“至少他会去尝试一下
吧。”
“他绝对要阻止我们,”
韦伯说,“虽然他傻愣愣的,
但对朋友掏心掏肺。”
“这太反常了,龙本不该
这么重感情,”沙丘说,“特
别是不属于一个种族的。”
“我知道该怎么处理,”
红隼说,“就算我们想的把他
逼疯,也无济于事。”
克雷不想继续听下去了。
他把自己埋水里,朝石壁游去。
我们到底应该怎么做?
时间要来不及了。
我要怎么做才能救她?
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第六章
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她闭上眼睛,大家彻底看
不见她了。
“哇,”沙霓惊讶地自顾
自说道,“我知道你能做到,
不过居然这么神奇……”
“守护龙还不知道我有这
个本领,”葛萝瑞的声音从一
根石柱上方飘过来,把大家都
吓到了,“他们对雨翼龙都没
有深入的了解,这对我们来说
挺好的。我到时候就躲在洞里
的某个角落。克雷,你无需犯
险进入到那条河流,我就这么
一直待着不动。”
“那你要躲多久呢?”星
飞说,“是等到饿死还是等到
他们不小心发现了你?”
“海澜之前的想法是对
的,”克雷说,“我们要逃离
这里,越快越好。”
沙霓用力瞪着海澜,满脸
不高兴。“为什么你们都不告
诉我?”她问道,但是大家都
沉默不语。
“那按你们说的做吧。”葛
萝瑞叹气。
葛萝瑞绿色的眼睛浮现在
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洞穴的正中央,她直勾勾盯着
克雷,说道:“别专门为了我一
个,其余事情你自己决定。我
就一直保持这样等到你回来解
救我们。”
克雷也感觉到那鲜艳的粉
红色好像浮现在了他的身上。
葛萝瑞相信他可以完成任务。
他能拯救她的生命,能拯
救大家。
只要他先从河里活着出
去。
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disappeared. 是孤身一人。
“Are we sure this is the only way?” 然而他不得不去做。他看
Sunny asked, splashing the river with her tail. 向葛萝瑞隐身的那个地方。
“I bet I could think of some more ideas, with “真的没有别的选择了
a little more time.” 吗?”沙霓无奈的尾巴在水里
“We don’t have any more time,” Clay 搅了搅,“让我再想想,肯定
said. 还有其他办法。”
“Follow the current,” Starflight said to “来不及了。”克雷说。
Clay. “Don’t leave the river. If it goes out into “沿着水流游,”星飞对
the world anywhere, the current should take 克雷说,“如果这条河流与外
you there.” 界相连,那就会跟着河流去到
If, Clay thought. 那个地方。”
“Stop and rest anytime you find a place 克雷心想要是真的就好
to breathe,” Starflight went on. “If you can’t 了。
find a place where the river surfaces, don’t “一遇到能停下来喘气的
panic or you’ll run out of air faster.” 地方,就赶紧休息一会儿,”
Clay felt like he was panicking already. 星飞接着嘱咐,“要是在一段
When he thought about swimming into inky 时间内都没有浮出水面呼吸的
blackness with no idea if he’d ever breathe 机会,一定不要慌乱,否则空
again, his whole body tightened with fear. 气很快就会被耗尽。”
He felt the brush of wing tips next to 克雷已经感觉到慌张了。
his and turned. The river eddied around 一想到要钻进暗无边际的地下
the blurry outline of Glory beside him. 河,也不知道能不能再次自由
“Go hide,” he whispered. 畅快地呼吸,他就恐惧到浑身
“Thank you, Clay,” she said quietly. 麻木。
“I’ll never admit I said this, but … I want 他感觉到身上有其他龙
you to know I would never have made it 的翅膀抚摸过,别过身子好像
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“好吧,”她做了个鬼脸,
“So, we can’t go up the rocks,” he said. “发出夜光——可以吸引异性
“What do we do about the waterfall?” He 海翼龙,这是我们这一族求偶
hoped she wouldn’t ask whether his scales 的方法。”说完之后,她把他
still hurt. He just had to tough it out until 的脑袋摁到了水里面,他一口
the pain went away. 气呛到了水连忙挣扎着从水里
She grinned. “We dive right over it!” she 冒出来。“现在你后不后悔问
said. “How high could it be?” “And how many 这个?”
sharp rocks could there be at the bottom?” he 不用问,他是有一点儿后
countered. “I’d like to see what we’re jumping 悔。海澜以后会为了另外一头
off first, please.” 满身鳞甲散发光芒的海翼龙离
“All right, let’s go check it out,” she 开他们 的情景在他脑海里浮
said, releasing him and leaping into the 现,克雷就觉得自己非常像个
water. The current whooshed her away, and 胖胖的圆乎乎泥球。
he had to let go of his rock to follow her “看来,我们不能沿着石
quickly, before the light of her 头往上走,”他说,“那怎么
scales disappeared. 才能越过那个瀑布呢?”他希
“Tsunami!” he called. There was no 望她别问自己的鳞甲还疼不
way she could hear him over the roaring 疼,他必须咬紧牙关,忍到它
waterfall. An underwater boulder slammed 消失为止。
into his belly, and he inhaled a mouthful of 她意味深长地笑了一下。
river. Choking and coughing, he paddled “我们要不从这里跳下去!”
after the blurry glow in the distance. 她说,“这个瀑布有多高呢?”
Suddenly the glow vanished, and he “另外,瀑布底下尖锐的岩石
was plunged into darkness again. 多不多呢?”他接着问道,
“我
“TSUNAMI!” he roared. 还是得先搞清楚这些问题,求
A heartbeat later, Clay felt the air 求你了。”
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the water below him with his tail, checking for 皮肤本就遭遇毒液的腐蚀疼痛
rocks, then let himself drop. The waterfall 万分,此刻在皮肤紧绷的状态
gently battered his head as he resurfaced. “You 下更是火上浇油。他真的太担
knew how short it was,” he said accusingly. 心海澜了,他压根就说不清她
“Maybe,” she said with a grin. “All right, yes. 掉的有多下去。他想象着她掉
I’d just gotten to the edge 到深渊底下摔得粉身碎骨。
when I heard you yell and went back for 忽然,他的脚被拍了一下。
you.” “克雷,你可千万要注意
“Lucky I’m not the type to suffer and 啊!”前方传来海澜的声音,
die in silence,” Clay said. But he couldn’t 充满戏谑的味道,“真的好危
help thinking … What would have 险哟!一不小心你的爪子要被
happened if I hadn’t cried out? What if we 摔断啦!”
had missed each other? 克雷睁开双眼。
“Come on, the river keeps going this 水流在他身边奔腾而下,
way,” Tsunami said. Her webbed feet 涌现出一大片一大片雪白的
swooped through the water, shooting her out 泡沫。这一堆堆的泡沫离着他
in front of him. He followed her through the 悬挂的双腿非常近,海澜欢快
pool into another narrow channel, with rocky 地在水池里翻滚,还用尾巴甩
banks on either side. 起水花向他泼去。
“But —” He cocked his head. His ears “你要抓牢咯!”她吼道,
twitched. “I think — that can’t be all the “不论发生什么都不要松手
roaring, then? Is there more up ahead?” There 啊!”
were weird echoes in these caves. He couldn’t “哈哈!”他尴尬地笑了
tell if he was hearing the roar of the small 几声,尾巴试探性地在水里摸
waterfall magnified, or if there was something 了摸,直到弄清下面的岩石,
else. 然后松手跳进了水里,探出头
Tsunami suddenly spread her wings 来,瀑布水轻轻地抚摸着他的
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曾经出现过的那道光。这里果
然是出口,他们成功找到了!
他的速度也越来越快,几
乎不用自己用力,河水带着他
直冲那片光亮。
突然间,洞穴里回荡着一
声刺耳的尖叫。海澜在眼前消
失了!
老天保佑她,这肯定又是
个玩笑,克雷心中默默祈祷的
同时,用尽全力向前游去。突
然间,眼前出现一个洞口,被
月光照亮地异常明亮,紧接着,
他一下子被水冲了出去。
河水飞奔涌出洞口,在绝
峭的悬崖上直直落下。
就在下坠前的那一瞬间,
克雷猛地张开双翅,乘风而起,
在空中倾斜飞行。
他在飞!
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to tail. 两只小龙都痛苦地皱起了眉
Tsunami sat up to look at him. “Yay?” she 头。
said. “发生了什么?”克雷担
“It’s amazing!” he cried. “Feel how 忧道。
soft it is!” He seized a handful of dirt and “可能是挣脱铁链的时
flung it at her. 候导致的,”海澜说,“应该
“Hey, quit that!” she protested, defending 脱白了。”
herself with her good wing. “这个样子你就跑来追
Clay flattened himself to the grass, 我了?”克雷简直不敢相信,
feeling the warm earth crumble around his “你受伤了怎么没让我知
legs and clump against his scales. Scents of 道?”
green and brown and buried sunshine 她耸了耸肩,疼得抽搐了
overwhelmed him. It was nothing like the 一下。“我没感觉到有多疼当
hard, cold, bare rock under the mountain. 我在水里的时候,但我一飞—
The ground here was welcoming and full of —”
life. A worm burrowed past his nose, and he “泥土!”克雷的尖叫打
snapped it up. 断了她的讲话,“我站在泥土
上!”他将爪子伸进泥里全部
都没入其中,全身都兴奋地抖
动起来。
海澜起身看着他。
“啊?”
她疑惑道。
“真不错!”他高兴极了,
“你看这好柔软啊!”他抓起
一把泥,朝她扔了过去。
“哈,别闹!”她反抗着,
用另外那只没有受伤的翅膀
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“真的有用哎,”她说,
“但还是有点痛,至少可以动
弹了。克雷你真的下的去手。”
克雷在海澜的帮助下被拖出
了灌木丛,“抱歉,尾巴不小
心撞到你了。”
克雷正要说点什么,海澜
突然一下捂住他的嘴巴。她伸
出一只爪子,竖起了耳朵。
“什么声音?”她低声
道。
克雷想扭头看一眼,但海
澜把他抓得死死的,动也动不
了,只好侧耳倾听。树枝摇摆
响动,有什么东西正向他们走
来。
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Acknowledgments
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