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Translation of children’s papers rises particular challenges owing to some special characteristics of children’s books and qualities of child audience. The fact that children’s book tends to have a peripheral place in cultures and disadvance from not enough of prestige makes it possible to manipulate texts translated for babies in different ways to enable them accord with the predictions of the receiving surrounding. Furthermore, children are not expected to tolerate as much strangeness and foreignness as grown-up readers, and therefore, modification of the content and tongue of source texts is often considered necessary. Instead of being innovative, translated children’s books thus close to agree to conventional, set expressions, pictures, and language. Nevertheless, children’s literature plays an evident part as a instrument for upbringing, socialization, development of linguistic skills, and spreading world culture. Especially in small linguistic societies, where translation quote constitute a significant share of printed children’s books, children are expected to arrive into contact with literature and its upbringing and entertaining functions generally through interpretations. That’s why, translations may play a vital role in introducing children to characters, events, and Polish translation service, typical of fiction.
The term ‘children’s literature’ often addresses fiction targeted at readers from smallest children to already teens; nonfiction, such as school materials, is omitted. Children’s fiction is, actually, not a monolithic kind either; its different subgenres, e.g., fairy tales and fantasy stories, criminal writing, realistic stories, differ in terms of idea and language, which is pretended to influence the choice of translation methods. Here, however, children’s stories is treated as one, albeit very complicated, genre. Although children are the initial readership, children’s books actually have an important additional target audience – grown-ups, whose wishes and literary tastes must be taken into account by all writers and translators. However, Oittinen advocates translating for children, rather than translating children’s literature, and emphasizes the significance of children’s culture and their fairy planet, as well as society’s image of childhood and the translator’s own child image.
Besides the definition of two target groups, baby literature has a number of other distinguishing qualities, which have an influence on both the content and language of English Russian translator: stressing ideological, didactic, behavioral, and moral norms, ambivalence, goal at high readability and conformity, and text–picture relationship.
Translation problems and their findings made at the stage of language tend to reflect, and result from, these hierarchically higher steps. Various approaches regulating the translation of children’s books can be aggregated under the more extensive concept of culture, or ideology in a neutral sense, referring to taken-for-granted assumptions, ideas, and values shared by a separate society and group. In fact, ideology is the overriding unit, an umbrella idea, dictating what is allowable in children’s books. In a whole, children’s books are expected 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 some new and, in that view, benefit the child reader. Moreover, notions of what is advantageous and understandable vary from culture to nation and change with time, which frequently leads to manipulation of initial texts in translation.