Translation to Child’s Stories
Translation of child books rises special challenges owing to some special characteristics of children’s readings and qualities of child audience. The situation that children’s literature tends to have a peripheral place in cultures and disadvance from not enough of prestige allows to manipulate texts translated for children in various ways to make them cohere with the expectations of the accommodating surrounding. Furthermore, children are not expected to temper as much strangeness and foreignness as adult readers, and therefore, modification of the content and language of source passages is often judged compulsory. Instead of being innovative, translated children’s books that’s why close to agree to conventional, accepted forms, models, and language. However, children’s literature plays an evident role as a tool for upbringing, socialization, development of linguistic skills, and spreading global culture. Especially in small language societies, where best rate translation constitute a significant proportion of published children’s books, children are likely to arrive into relations with literature and its upbringing and entertaining functions generally through translations. Therefore, translations may have a key role in presenting child readers to characters, events, and Polish translation service, typical of fiction.
The term ‘children’s literature’ often refers to reading aimed at readers from preliterate children to young teenagers; nonfiction, such as school textbooks, is excluded. Children’s fiction is, actually, not a uniform genre either; its different subgenres, e.g., fairy tales and fantasy stories, detective novels, realistic stories, differ in terms of purpose and language, which is pretended to influence the scope of translation methods. Here, however, children’s stories is treated as one, albeit very complicated, genre. Although teens are the initial audience, children’s books actually have an crucial additional target group – adult readers, whose wishes and linguistic tastes must be taken into account by both authors and translators. However, Oittinen advocates translating for children, rather than translating children’s literature, and emphasizes 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 groups, children’s literature has a lot of other distinguishing qualities, which have an effect on both the content and language of Russian translation: stressing ideological, didactic, behavioral, and moral norms, ambivalence, goal at high readability and conformity, and text–picture positioning.
Translation issues and their solutions made at the level of language tend to reflect, and result from, these hierarchically higher levels. different approaches mediating the translation of children’s books can be aggregated under the more extensive vision on culture, or ideology in a neutral sense, addressing accepted assumptions, beliefs, and values shared by a particular society and group. Actually, ideology is the overriding unit, an umbrella idea, dictating what is allowable in children’s books. In general, children’s books are likely to be in a specific way enjoyable to children and sufficiently easy in terms of plot, 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 some new and, in that view, benefit the child reader. Moreover, notions of what is advantageous and understandable differ from nation to nation and change with time, which often leads to manipulation of initial texts in translation.