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Translating of children’s books poses particular 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 distant place in cultures and disadvance from not enough of prestige makes it possible to manipulate materials translated for children in different ways to enable them accord with the predictions of the receiving surrounding. Beside that, children are not expected to tolerate as much strangeness and foreignness as grown-up readers, and therefore, changing of the content and language of source texts is often judged compulsory. Instead of being creative, translated children’s books that’s why tend to conform to conventional, set forms, models, and language. Nevertheless, children’s literature carries an evident part as a instrument for education, socialization, development of linguistic skills, and widening world knowledge. Especially in minor language societies, where translation quote constitute a large share of printed children’s literature, children are likely to arrive into contact with literature and its upbringing and entertaining functions mainly through translations. That’s why, translations may play a vital role in introducing children to characters, events, and Polish translation service, typical of fiction.
The term ‘baby books’ usually addresses reading aimed at readers from preliterate children to already teens; nonfiction, such as school textbooks, is excluded. Children’s fiction is, actually, not a uniform genre either; its various subgenres, e.g., fairy tales and dream-books, detective writing, realistic stories, differ in means of purpose and language, that is likely to affect the scope of translation methods. Here, however, children’s fiction is treated as one, albeit very heterogeneous, genre. Despite teens are the initial audience, children’s books actually have an important secondary target group – adult readers, whose wishes and linguistic tastes must be taken into account by all authors and translators. But, Oittinen advocates translating for children, 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.
Besides the existence of two target groups, baby literature has a number of other special features, which have an influence on both the content and language of English Russian translator: stressing ideological, didactic, ethical, and moral norms, ambivalence, goal at exceptional readability and speakability, and text–picture positioning.
Translation problems and their findings made at the level of language tend to reflect, and result from, these gradually higher steps. different norms mediating the translation of children’s books might be subsumed under the more broad vision on culture, or ideology in a general sense, referring to taken-for-granted guesses, beliefs, and views shared by a particular society and culture. In fact, ideology is the overriding unit, an umbrella concept, writing what is allowable in children’s books. In general, children’s books are likely to be in a specific way enjoyable to children and sufficiently easy in terms of idea, situation development, and language to be readable for smalls. These couple of requirements may sometimes be contradictory. For instance, a maximally understandable text may be regarded 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 translation.