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Translation of child literature rises particular challenges owing to some special values of children’s readings and qualities of child audience. The fact that children’s literature tends to have a peripheral place in cultures and disadvance from not enough of prestige makes it possible to manipulate materials translated for babies in different ways to make them cohere with the expectations of the accommodating culture. Beside that, children are not expected to temper as much strangeness and foreignness as grown-up readers, and therefore, changing of the content and language of initial texts is often considered compulsory. Instead of being creative, translated children’s literatures that’s why tend to agree to spread, set forms, models, and language. Nevertheless, youth literature carries an important role as a tool for education, involvement, development of linguistic skills, and spreading global culture. Especially in small linguistic societies, where translation quote constitute a significant proportion of published children’s literature, children are likely to arrive into contact with literature and its educative and amusing functions mainly 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’ usually refers to fiction aimed at readers from smallest children to young 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, detective writing, realistic stories, differ in means of purpose and language, which is pretended to affect the scope of translation methods. Here, however, children’s stories is judged as one, albeit very complicated, genre. Despite children are the initial audience, children’s books actually have an crucial secondary target audience – adult readers, 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 importance of children’s culture and their magical planet, as well as society’s image of being-a-child and the translator’s own child assumptions.
Besides the existence of two target groups, children’s literature has a lot of other special features, which have an influence on both the content and language of English Russian translator: strong ideological, educational, behavioral, and moral norms, ambivalence, aim at exceptional readability and conformity, and text–picture positioning.
Translation problems and their findings made at the level of language tend to explain, and result from, these hierarchically higher steps. Various approaches mediating the translation of children’s books might be aggregated under the more extensive concept of culture, or ideology in a neutral sense, addressing accepted guesses, ideas, and views shared by a separate society or group. Actually, ideology is the overlapping unit, an umbrella concept, writing 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 simple in terms of plot, situation development, and language to be comprehensible. These two requirements may sometimes 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 advantageous and understandable differ from culture to culture and change with time, which frequently leads to manipulation of source texts in translation.