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Translating narrative space is a necessity due to its fundamental role in children’s literature. To date, studies have shown that efforts to examine the strategy in rendering the space issues in children’s literature translation remain scarce. Responding to that, the paper aims to explore how narrative space is transferred from one language to another. The theoretical framework is based on Ryan et al.’s model of narrative space and Baker’s framing strategies. A qualitative approach is designed to study the renowned Chinese children’s literature Bronze and Sunflower and its English version. A total of 146 examples are purposively selected as the samples. The findings show that selective appropriation is the most frequently used framing strategy. Also, it is observed that the translator prefers to omit some repeated settings and descriptions of spatial frames even though the source text elaborates them, consequently softening the sense of space in the target context. The findings may provide new insights into a better understanding of spatial issues in the translation of children’s literature.

Hybridization has become a fluid notion due to its association with ideas and themes that were once mutual contradicting but have now become mutual celebrated. However, such changes are inevitable as the trend of globalization continuously generates new transnational cultural elements. This study will examine the hybrid cultural identity in Disney’s animated film Mulan (1998) which was adapted from The Ballad of Mulan, a folktale that originated from China. Specifically, it focuses on the cultural identity of Disney’s Mulan and explores how it is reconstructed as a transnational culture which flowed from China to America. This phenomenon, to some extent, implies the West’s increasing acceptance of cultural productions from Asian countries. The paper employs Daphne A. Jameson’s analytic model of cultural identity consisting of vocation, class, geography, philosophy, language, and biological components which seek to examine the emergence of mixed and relational and hybrid cultural identities. Through this study, the paper aims to discuss how the process of hybridization brings the character’s cultural identity in the original folklore to an international audience and how this facilitates cultural exchange and growth. The findings show that hybridization in cultural identity presents a tension between cultural Americanization and orientalization as well as modernity and tradition, which ultimately leads to a transferable cultural identity. The study is significant in elevating the status of Chinese folktales and highlighting cultural hybridity as a mediating factor in the growing trend of cultural globalization.