Translation to Baby Papers
Translation of child books poses particular issues owing to some special values of children’s books and qualities of child readers. The fact that children’s literature tends to have a distant place in cultures and suffer from not enough of prestige makes it possible to manipulate materials translated for babies in various ways to enable them accord with the expectations of the receiving surrounding. Furthermore, children are not expected to temper as much strangeness and foreignness as grown-up readers, and therefore, modification of the content and tongue of initial passages is often judged necessary. Instead of being creative, translated children’s literatures thus close to conform to conventional, set expressions, models, and language. However, youth writing has an important role as a instrument for education, involvement, development of linguistic skills, and spreading global culture. Especially in minor linguistic cultures, where translation quote account for a large share of printed children’s books, children are likely to arrive into contact with literature and its educative and entertaining functions mainly through interpretations. Therefore, translations may have a vital role in introducing child readers to characters, situations, and Quality Polish translator, typical of fiction.
The expression ‘children’s literature’ usually refers to fiction aimed at readers from preliterate children to young teenagers; nonfiction, such as school materials, is omitted. Children’s fiction is, in fact, not a uniform genre either; its different subgenres, e.g., fairy tales and fantasy stories, detective novels, realistic stories, differ in terms of idea and language, which is likely to affect the choice 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 additional target audience – grown-ups, whose wishes and literary habits must be taken into account by both writers and translators. However, Oittinen advocates translating for children, instead of translating children’s literature, and underlies the significance of children’s culture and their fairy world, as well as society’s image of being-a-child and the translator’s own child image.
In addition to the existence of two target groups, children’s literature has a number of other special features, which have an effect on both the content and language of quality Russian translations: stressing ideological, educational, ethical, and moral norms, ambivalence, aim at exceptional readability and speakability, and text–picture relationship.
Translation problems and their findings made at the stage of language tend to explain, and result from, these gradually higher levels. Various norms mediating the translation of children’s literature can be aggregated under the more extensive concept of culture, or ideology in a general sense, addressing taken-for-granted assumptions, beliefs, and views shared by a separate nation or group. In fact, ideology is the overlapping constraint, an umbrella concept, writing what is acceptable in children’s literature. In general, children’s books are likely 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 rarely be contradictory. For example, a maximally understandable text may be regarded as too simple to discover anything new and, in that respect, benefit the child reader. Moreover, notions of what is advantageous and comprehensible vary from nation to culture and change with time, which often leads to manipulation of initial texts in translation.