Translating to Baby Papers
Translation of children’s papers rises special challenges owing to number of special characteristics of children’s books and qualities of child audience. The fact that children’s book tends to have a peripheral position in cultures and disadvance from not enough of status allows to manipulate materials translated for children in different ways to make them accord with the predictions of the receiving surrounding. Furthermore, children are not expected to tolerate as much strangeness and foreignness as adult readers, and therefore, modification of the content and tongue of initial passages is often considered necessary. Instead of being creative, translated children’s books that’s why close to agree to spread, accepted forms, pictures, and language. Nevertheless, youth writing has an important part as a tool for upbringing, socialization, development of linguistic skills, and widening world culture. Especially in minor language cultures, where translation price constitute a significant proportion of published children’s books, children are likely to come into contact with literature and its educative and entertaining functions mainly through translations. That’s why, translations may play a key role in introducing child readers to characters, events, and English Polish translation, typical of fiction.
The term ‘children’s literature’ often addresses reading targeted at readers from smallest children to young teenagers; nonfiction, such as school textbooks, is left aside. Children’s fiction is, actually, not a monolithic kind either; its different subgenres, e.g., jokes and dream-books, criminal writing, realistic stories, differ in means of purpose and language, that is likely to influence the scope of translation methods. Here, however, children’s fiction is judged as one, albeit very heterogeneous, genre. Despite children are the primary readership, children’s books actually have an crucial secondary target audience – adult readers, whose wishes and linguistic habits must be taken into account by both authors and translators. However, Oittinen advocates translating for small ones, instead of translating children’s literature, and underlies 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 assumptions.
In addition to the definition of two target audiences, baby literature has a number of other special features, which have an influence on both the content and language of English Russian translate: strong ideological, educational, ethical, and moral norms, ambivalence, goal at high readability and conformity, and text–picture positioning.
Translation issues and their findings made at the stage of language tend to reflect, and result from, these hierarchically higher levels. Various approaches regulating the translation of children’s books might be subsumed under the more extensive vision on culture, or ideology in a general sense, referring to accepted assumptions, ideas, and values shared by a particular nation and culture. Actually, ideology is the overriding constraint, an umbrella idea, dictating what is acceptable in children’s books. In general, children’s books are likely to be in some way beneficial to children and sufficiently simple in terms of idea, characterization, and language to be comprehensible. 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 respect, benefit the child reader. Beside that, notions of what is advantageous and understandable differ from culture to nation and change with time, which often leads to changing of initial texts in translating.
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