1 Introduction

This article introduces the importance of Chinese children's literature in inheriting culture, shaping character, and inspiring wisdom. Taking "The Divine Brush Ma Liang" as an example, it explores its influence and dissemination internationally. It is pointed out that foreign translations or adaptations of Chinese children's literature account for an important proportion in translation and introduction, but there is a lack of relevant theoretical research. There are two main types of research: one explores the current situation and development path of Chinese children's literature going global; Another type of translation model is through case studies of external translation. Current research is mostly focused on English speaking countries, with limited exposure to other regions and languages. This article aims to comprehensively review the rewriting of the French version of "Divine Brush Ma Liang", explore the characteristics and artistic expression forms of rewriting, understand the inevitability of variation, and explore the value and contemporary significance of rewriting. We will focus on the variation of character images, analyze cross-cultural variation phenomena and their underlying reasons and impacts, consider the importance of preserving cultural heterogeneity, and explore overseas translation models that not only pay attention to the heterogeneity of Chinese ethnic culture, but also meet the expectations of children in the target language country.

Multimodal rewriting in the era of visual culture

Explored the multimodal rewriting phenomenon of Chinese classic children's literature outside the domain in the era of visual culture. Rewriting is defined as a form of rewriting creation, belonging to the category of "great translation", emphasizing creative rebellion in cross lingual communication. Taking "The Magic Brush" as an example, this article analyzes its rewriting history and current situation in France, and points out that French publishers tend to choose non literary books such as picture books and comic books. The rewriting team is composed of creators from different backgrounds, integrating multiple art forms to create works that cross media boundaries. The French version has been rewritten with the addition of multimodal elements such as images, sounds, and performances, simplifying textual expression and increasing the emphasis on visual representation. This cross modal rewriting is related to the characteristics of the visual culture era and meets readers' needs for multimodal text. The novel 'Divine Brush Ma Liang' is constantly interpreted and disseminated in new contexts through various forms such as scripts, picture books, comic books, and dramas, forming intertextuality, enriching the expression level of the work, and broadening the understanding and acceptance dimensions of children's audiences. Taking "Ma Liang's World I" as an example, this article analyzes how Chinese designer Liu Yang used comic book forms to recreate the aesthetic style of the original language culture, integrating traditional Chinese culture, philosophical wisdom, and aesthetic ideas into the rewritten works, and achieving cross-cultural aesthetic migration. Rewriting is not only the transmission of content and ideas, but also the embodiment of artistic realm, which is particularly important for children's literature. The acceptance and dissemination of rewritten works outside the domain have promoted the integration of different cultures.

3 Cross cultural variations that are close to the reading expectations of foreign children readers

Zhao Jirong pointed out that the mainstream of children's literature in Europe and America tends to be fantasy literature, emphasizing the romance and poetry of literature. In the overseas adaptation of "The Magic Brush Ma Liang", the core theme remains the same, but the realism style and moral advocacy are weakened, and more emphasis is placed on fantasy and romantic colors. Cao Shunqing's perspective on variation theory holds that literary works undergo variation in cross-cultural communication, including the shaping of character images. The two works, "World of Marlon I" and Didier's version of "The Magic Pen," exhibit different characteristics in their adaptation. Ma Liang's World I focuses more on fantasy and adventure, with more three-dimensional and full character images, and the ending highlights Ma Liang's heroic image. And Didier's version of "The Magic Pen" omitted the original plot, with the protagonist's personality downplayed and the emperor's image filled with romanticism. The two works are particularly prominent in the variation of character images, reflecting the psychological paradigms, thinking patterns, discourse styles, and cultural concepts of the viewers towards the source language culture. Ma Liang's World I "was completed by a Chinese designer, incorporating traditional Chinese cultural elements to convey national pride. However, Didier's version of "The Magic Brush" was completed by a French domestic writer and illustrator, and there are cultural misunderstandings and misinterpretations, as well as stereotypical perceptions of Chinese images. Information that does not conform to the true language and culture can mislead children and hinder the international construction of China's national image.

4 Cultural Misunderstandings and Preservation of Heterogeneity

Explored the cultural misreading and heterogeneity preservation issues in the process of rewriting Chinese classic children's literature outside the country. By comparing the rewritten text with the original character images, the cultural psychology and value changes behind the image variation are revealed. Antona Bellman emphasized the test of "otherness" on the target language culture, pointing out the inevitability of cross-cultural variation in literary translations. Zhu Ziqiang and Xu Jun respectively emphasized the importance of maintaining the heterogeneity of the original work in children's literature translation. The heterogeneity of "The Divine Brush Ma Liang" is reflected in the national spirit of Ma Liang's image and the metaphor of the divine brush. In cross-cultural rewriting, the difficulty of preserving the heterogeneity of the original culture increases. For example, the plot of "The Origin of the Divine Pen" presents different interpretations in different rewritten versions, leading to a shift in values. Liu Yunhong and Xu Jun pointed out that erasing heterogeneity in translation can lead to distortion and cultural misreading of the work. The attitude of rewrites and drafters towards cultural heterogeneity involves misreading and misinterpretation, which is a projection of Western collective imagination. Guo Jing pointed out that dominant language and culture often overlook the understanding of weaker language and culture, leading to the rejection or erasure of heterogeneous others. In the process of rewriting, it is necessary to respect the cultural context and identity of the original text, and seek a balance between eliminating cultural barriers and preserving the cultural heterogeneity of the work. It is challenging to manifest and widely accept the heterogeneity of Chinese literature in the West, and there is an imbalance in the translation and introduction of Chinese and Western literature. Overseas Chinese writers and illustrators play an important role in promoting the dissemination of traditional Chinese culture to the outside world. The collaborative rewriting model between Chinese and foreign teams provides a problem-solving approach, which helps to create works that not only maintain the cultural value of the Chinese nation, but also meet the reading expectations of children in the target language countries.

5 Conclusion

In the era of visual culture, multimodal rewriting provides new opportunities for the international dissemination of Chinese children's literature, meeting the reading needs of modern children. However, excessive "literary foreignization" may lose cultural uniqueness and affect cultural dissemination and national image. Rewriting variation involves surface content such as language style, plot, and character image, which delves deeper into the theme and spiritual essence, reflecting cultural context and differences in values. Accurately evaluating the value of rewriting and integrating traditional Chinese culture, national spirit, ethical thinking, and aesthetic concepts into the target language country is crucial. Children readers have the ability to accept heterogeneity, preserve cultural heterogeneity, and stimulate their interest in exploring foreign civilizations, allowing Chinese children's literature to more authentically enter the hearts of children readers in target language countries. The continuous rewriting of works and their dissemination in foreign lands will promote the contemporary interpretation of classic literary works, and achieve the continuation and enrichment of the life of literary works.