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Translation of children’s papers rises special issues owing to some special values of children’s books and qualities of child audience. The situation that children’s literature tends to have a distant place in cultures and disadvance from not enough of status makes it possible to manipulate materials translated for children in different ways to enable them accord with the expectations of the accommodating culture. Beside that, children are not expected to tolerate as much strangeness and foreignness as adult readers, and therefore, modification of the content and tongue of initial texts is often considered necessary. Instead of being innovative, translated children’s books thus tend to agree to conventional, accepted expressions, models, and language. However, children’s writing has an important part as a instrument for upbringing, involvement, development of linguistic skills, and widening global knowledge. Especially in minor linguistic cultures, where translation price constitute a large share of printed children’s books, children are expected to come into contact with literature and its upbringing and amusing functions generally through interpretations. That’s why, translations may have a vital role in presenting child readers to characters, situations, and Polish translation agency, typical of fiction.
The term ‘children’s literature’ often refers to fiction aimed at readers from smallest children to already teens; nonfiction, such as school textbooks, is left aside. Children’s fiction is, actually, not a monolithic genre either; its various subgenres, e.g., jokes and dream-books, criminal novels, realistic stories, differ in means of purpose and language, that is pretended to influence the choice of translation methods. Here, however, children’s fiction is judged as one, albeit very heterogeneous, genre. Although teens are the primary readership, children’s books actually have an crucial additional target audience – grown-ups, whose wishes and literary tastes must be taken into account by both writers and translators. But, Oittinen advocates translating for children, rather than translating children’s literature, and emphasizes the significance of children’s culture and their fairy world, as well as society’s image of childhood and the translator’s own child image.
In addition to the definition of two target groups, baby literature has a number of other distinguishing features, which have an effect on both the content and language of English Russian translate: strong ideological, educational, ethical, and moral norms, ambivalence, aim at exceptional readability and conformity, and text–picture positioning.
Translation problems and their solutions made at the level of linguistic skills tend to reflect, and result from, these gradually higher levels. Various approaches mediating the translation of children’s literature might be subsumed under the more broad vision on culture, or ideology in a neutral sense, referring to accepted assumptions, ideas, and values shared by a particular society or group. Actually, ideology is the overlapping unit, an umbrella concept, writing what is allowable in children’s literature. In a whole, children’s books are likely to be in a specific way enjoyable to children and sufficiently simple in terms of idea, characterization, and language to be comprehensible. These couple of requirements may sometimes be contradictory. For instance, a maximally understandable book may be treated as too simple to discover anything new and, in that respect, benefit the child reader. Moreover, notions of what is advantageous and understandable differ from culture to culture and change with time, which frequently leads to manipulation of initial texts in translating.