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Translating of children’s papers poses particular issues owing to number of special values of children’s books and qualities of child readers. The fact that children’s literature tends to have a peripheral position in cultures and disadvance from not enough of status makes it possible to manipulate materials translated for babies in different ways to enable them accord with the expectations of the accommodating surrounding. Furthermore, children are not expected to tolerate as much strangeness and foreignness as adult readers, and therefore, changing of the content and tongue of initial texts is often considered necessary. Instead of being innovative, translated children’s literatures thus tend to conform to spread, accepted forms, models, and language. However, youth literature plays an evident role as a instrument for education, involvement, development of linguistic skills, and spreading global knowledge. Especially in small linguistic societies, where translation rates constitute a large share of printed children’s literature, children are likely to come into relations with literature and its educative and entertaining functions generally through interpretations. That’s why, translations may have a vital role in presenting child readers to characters, situations, and Polish translation company, typical of fiction.
The expression ‘children’s books’ often refers to fiction targeted at readers from preliterate children to already teens; nonfiction, such as school materials, is left aside. Children’s fiction is, actually, not a monolithic genre either; its various subgenres, e.g., fairy tales and fantasy stories, criminal writing, realistic stories, differ in means of purpose and language, that is likely to affect the choice of translation methods. Here, however, children’s stories is judged as one, albeit very heterogeneous, genre. Despite teens are the initial audience, children’s books actually have an crucial additional target audience – grown-ups, whose wishes and linguistic tastes must be taken into account by all writers and translators. But, Oittinen advocates translating for small ones, rather than translating children’s literature, and underlies the importance of children’s culture and their magical planet, as well as society’s image of childhood and the translator’s own child image.
In addition to the definition of two target audiences, baby literature has a number of other distinguishing features, which have an effect on both the content and language of Russian translation: stressing ideological, didactic, behavioral, and moral terms, ambivalence, aim at high readability and speakability, and text–picture positioning.
Translation problems and their solutions made at the stage of linguistic skills tend to reflect, and result from, these hierarchically higher levels. Various norms mediating the translation of children’s books can be aggregated under the more extensive concept of culture, or ideology in a neutral sense, referring to accepted assumptions, ideas, and views shared by a particular nation and group. In fact, ideology is the overlapping constraint, an umbrella idea, writing what is allowable in children’s literature. In a whole, children’s books are likely to be in a specific way beneficial to children and sufficiently easy in terms of idea, characterization, and language to be readable for smalls. These couple of requirements may sometimes be contradictory. For example, a maximally understandable book may be regarded as too simple to discover anything new and, in that respect, benefit the child reader. Beside that, notions of what is advantageous and comprehensible vary from nation to culture and change with time, which frequently leads to changing of source texts in translation.