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Translating of children’s literature poses special issues owing to some special values of children’s books and qualities of child audience. The fact that children’s book tends to have a distant place in cultures and suffer from not enough of status makes it possible to manipulate materials translated for children in different ways to make them cohere with the predictions of the receiving culture. Furthermore, children are not expected to temper as much strangeness and foreignness as grown-up readers, and therefore, modification of the content and language of initial passages is often judged compulsory. Instead of being creative, translated children’s literatures that’s why tend to conform to spread, set forms, models, and language. However, children’s literature has an important part as a instrument for education, socialization, development of linguistic skills, and widening global knowledge. Especially in small language societies, where translation price constitute a significant proportion of printed children’s literature, children are expected to arrive into relations with literature and its educative and entertaining functions mainly through interpretations. That’s why, translations may have a vital role in presenting children to characters, situations, and Polish translation service, typical of fiction.
The expression ‘children’s books’ often addresses fiction aimed at readers from smallest children to already teenagers; nonfiction, such as school textbooks, is left aside. Children’s fiction is, actually, not a monolithic kind either; its various subgenres, e.g., fairy tales and fantasy stories, detective writing, realistic stories, differ in terms of idea and language, that is pretended to influence the scope of translation methods. Here, however, children’s fiction is treated as one, albeit very complicated, genre. Although children are the primary audience, children’s books actually have an crucial secondary target group – grown-ups, whose wishes and linguistic tastes must be taken into account by both authors and translators. But, Oittinen insists on translating for small ones, rather than translating children’s literature, and underlies 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 special features, which have an influence on both the content and language of Russian translation: strong ideological, educational, behavioral, and moral norms, ambivalence, goal at high readability and conformity, and text–picture positioning.
Translation issues and their findings made at the level of linguistic skills tend to explain, and result from, these gradually higher levels. different norms regulating the translation of children’s literature might 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 nation or culture. In fact, ideology is the overlapping unit, an umbrella concept, dictating what is allowable in children’s books. In general, children’s books are expected to be in a specific way enjoyable to children and enough simple in terms of idea, situation development, and language to be readable for smalls. These two requirements may rarely be contradictory. For example, a maximally understandable text may be treated as too simple to teach anything new and, in that respect, benefit the child reader. Moreover, notions of what is advantageous and understandable vary from culture to culture and change with time, which frequently leads to changing of initial texts in translation.