Translating of Child’s Stories
Translation of child books rises special challenges owing to number of special values of children’s books and qualities of child readers. The fact that children’s literature tends to have a peripheral position in cultures and suffer from lack of prestige allows to manipulate texts translated for children in different ways to enable them cohere with the predictions of the accommodating surrounding. Furthermore, children are not expected to tolerate as much strangeness and foreignness as adult readers, and therefore, changing of the content and tongue of source passages is often considered compulsory. Instead of being creative, translated children’s books thus close to agree to conventional, accepted expressions, pictures, and language. Nevertheless, children’s writing has an important part as a tool for education, involvement, development of linguistic skills, and spreading world knowledge. Especially in small language cultures, where translation quote constitute a significant proportion of published children’s books, children are expected to come into contact with literature and its educative and amusing functions mainly through interpretations. That’s why, translations may play a vital role in presenting child readers to characters, events, and English Polish translation, typical of fiction.
The expression ‘children’s books’ often refers to reading targeted at readers from smallest children to young teenagers; nonfiction, such as school textbooks, is excluded. Children’s fiction is, actually, not a monolithic kind either; its various subgenres, e.g., fairy tales and fantasy stories, criminal writing, realistic stories, differ in terms of purpose and language, which is pretended to influence the choice of translation methods. Here, however, children’s stories is judged as one, albeit very heterogeneous, genre. Although children are the initial audience, children’s books actually have an crucial secondary target audience – grown-ups, whose preferences and literary tastes must be taken into account by all writers and translators. But, Oittinen insists on translating for small ones, rather than translating children’s literature, and emphasizes the importance of children’s culture and their fairy planet, as well as society’s image of being-a-child and the translator’s own child image.
Besides the definition of two target audiences, children’s literature has a number of other special features, which have an effect on both the content and language of English Russian translator: strong ideological, educational, ethical, and moral terms, ambivalence, goal at exceptional readability and speakability, and text–picture positioning.
Translation issues and their findings made at the stage of language tend to explain, and result from, these hierarchically higher levels. different approaches regulating the translation of children’s literature can be subsumed under the more extensive vision on culture, or ideology in a neutral sense, addressing taken-for-granted assumptions, beliefs, and values shared by a particular nation or culture. In fact, ideology is the overlapping unit, an umbrella idea, dictating what is acceptable in children’s books. In a whole, children’s books are likely to be in a specific way beneficial to children and enough easy in terms of idea, situation development, and language to be comprehensible. These two requirements may sometimes be contradictory. For instance, a maximally understandable book may be treated as too simple to teach anything new and, in that respect, benefit the child reader. Beside that, notions of what is beneficial and comprehensible differ from culture to culture and change with time, which often leads to manipulation of initial texts in translation.