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Translating of children’s papers 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 suffer from lack of prestige makes it possible to manipulate texts translated for children in various ways to enable them accord with the expectations of the accommodating culture. Furthermore, children are not expected to temper as much strangeness and foreignness as grown-up readers, and therefore, changing of the content and language of source texts is often judged necessary. Instead of being innovative, translated children’s books that’s why close to agree to conventional, set forms, models, and language. However, children’s writing carries an important part as a instrument for upbringing, socialization, development of linguistic skills, and widening world knowledge. Especially in small language societies, where best rate translation constitute a significant share of published children’s literature, children are likely to arrive into contact with literature and its upbringing and entertaining functions generally through translations. Therefore, translations may have a vital role in presenting children to characters, events, and Polish translation company, typical of fiction.
The expression ‘baby books’ often addresses fiction aimed at readers from preliterate children to young teenagers; nonfiction, such as school textbooks, is left aside. Children’s fiction is, in fact, not a uniform genre either; its various subgenres, e.g., jokes and fantasy stories, detective writing, realistic stories, differ in terms of purpose and language, which is pretended to affect the scope of translation methods. Here, however, children’s fiction is treated as one, albeit very complicated, genre. Although teens are the initial audience, children’s books actually have an important additional target group – adult readers, whose wishes and literary habits must be taken into account by both writers and translators. But, Oittinen insists on translating for children, rather than translating children’s literature, and emphasizes the significance of children’s culture and their magical planet, as well as society’s image of being-a-child and the translator’s own child image.
Besides the definition of two target groups, children’s literature has a number of other special features, which have an influence on both the content and language of quality Russian translations: stressing ideological, didactic, ethical, and moral terms, ambivalence, aim at exceptional readability and conformity, and text–picture relationship.
Translation issues and their findings made at the level of linguistic skills 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 broad concept of culture, or ideology in a general sense, referring to accepted guesses, ideas, and values shared by a separate society and group. In fact, ideology is the overriding constraint, an umbrella idea, writing what is allowable in children’s literature. In general, children’s books are expected to be in a specific way beneficial to children and sufficiently easy in terms of plot, characterization, and language to be comprehensible. These couple of requirements may rarely be contradictory. For example, a maximally understandable book may be treated as too simple to teach some new and, in that respect, benefit the child reader. Beside that, notions of what is advantageous and understandable vary from culture to nation and change with time, which frequently leads to changing of initial texts in translating.