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s.  Later,  he  pointed  out  that  children  were  more  eager  to accept new things. The adaptation of the original text exhibited translators’ disrespect to local culture and thus rob children’s opportunity to touch the diverse cultures, while at the  same  time  he  also  pointed  out  that  proper  nouns,  historic  and  geographic  nouns, measuring  words  and  cultural  references  could  be  localized  due  to  the  defined understanding of exotic culture of the target language readers.  
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2.2 Previous Studies of the Translated Versions of The Wonderful Wizard of Oz
The  Wonderful  Wizard  of  Oz  is  the  master  piece  of  Frank  Baum,  the  father  of American fairy tales, and it was the first original long fairy tale written by Americans. After its publication, it was welcome by readers all over the world. In China, there are existing  different  versions  in  the  market.  However,  the  theoretical  studies  on  its translation are very limited, which mainly focus on the following three aspects:   The  first  kind  was  trying  to  study  its  translation  from  stylistics.  In  the  paper Children’s  fantastic  Journey,  Ran  (2010)  analyzed  the  stylistic  features  of  the translation of The Wonderful Wizard of Oz from the perspectives of melody, vocabulary, syntax and rhetoric. She studied in what way Chen Bochui’s version reflects the stylistic features of the original works on linguistic level. Liu (2012) in her thesis Reduplicated Word’s  Employment  in  Children’s  Literature  E-C  Translation,  through  the  comparative analysis  of  two  Chinese  translations  of  The  Wonderful  Wizard  of  Oz,  she  came  to  a conclusion  that  reduplicated  words  fit  children’s  linguistic  features  and  they  can  add glamour  to  the  translated  language,  which  makes  it  easier  and  more  acceptable  to children readers and makes the translated work more vivid and attractive. 
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Chapter Three   THEORETICAL FRAMEWORK .......... 11 
3.1 Reception Aesthetics ........... 11 
3.2 Main Notions of Reception Aesthetics ..... 13 
3.2.1 Horizon of expectations ......... 13 
3.2.2 Readers’ role and status ......... 14 
3.2.3 Indeterminacy ............ 15 
3.3 Reception Aesthetics Applied in Translation ....... 16 
Chapter Four   ANALYSIS OF THE TWO CHINESE VERSIONS   ..... 19 
4.1 Analysis from Horizon of Expectations of Children Readers ...... 19 
4.2 Analysis from the Perspective of Readers’ Role and Status ..... 22 
4.2.1 Comparison on the lexical level ......... 23 
4.2.2 Comparison on the syntactic level ...... 35 
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