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Translating of child literature rises special challenges owing to some special characteristics of children’s readings and qualities of child readers. The situation that children’s book tends to have a peripheral place in cultures and disadvance from not enough of status makes it possible to manipulate materials translated for children in various ways to make them cohere with the expectations of the accommodating culture. Beside that, children are not expected to tolerate as much strangeness and foreignness as grown-up readers, and therefore, modification of the content and language of source passages is often considered necessary. Instead of being innovative, translated children’s books thus tend to conform to spread, set forms, models, and language. Nevertheless, youth literature carries an important part as a instrument for education, socialization, development of linguistic skills, and spreading global knowledge. Especially in minor language societies, where translation quote account for a significant share of printed children’s books, children are likely to come into contact with literature and its educative and amusing functions mainly through interpretations. That’s why, translations may have a vital role in presenting children to characters, events, and Polish translation service, typical of fiction.
The expression ‘children’s books’ usually refers to fiction aimed at readers from smallest children to already teens; nonfiction, such as school textbooks, is omitted. Children’s fiction is, actually, not a uniform genre either; its different subgenres, e.g., jokes and fantasy stories, criminal writing, realistic stories, differ in terms of idea and language, that is likely to affect the choice of translation methods. Here, however, children’s stories is treated as one, albeit very complicated, genre. Despite teens are the primary readership, children’s books actually have an crucial secondary target audience – adult readers, whose wishes and literary tastes must be taken into account by both authors and translators. But, Oittinen insists on translating for children, rather than translating children’s literature, and underlies the significance of children’s culture and their magical world, as well as society’s image of being-a-child and the translator’s own child image.
In addition to the definition of two target audiences, baby literature has a number of other special qualities, which have an effect on both the content and language of Russian translation: strong ideological, didactic, behavioral, and moral terms, ambivalence, aim at exceptional readability and conformity, 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. different approaches mediating the translation of children’s books might be aggregated under the more broad vision on culture, or ideology in a neutral sense, referring to taken-for-granted assumptions, beliefs, and views shared by a particular nation and group. Actually, ideology is the overlapping constraint, an umbrella idea, dictating what is acceptable in children’s literature. In general, children’s books are likely to be in some way enjoyable to children and enough easy in terms of idea, characterization, and language to be readable for smalls. These two requirements may rarely be contradictory. For instance, a maximally understandable text may be treated as too simple to teach anything new and, in that respect, benefit the child reader. Beside that, notions of what is beneficial and comprehensible differ from culture to nation and change with time, which often leads to manipulation of source texts in translation.