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Translating of child papers rises special challenges owing to some special values of children’s readings and qualities of child readers. The fact that children’s literature tends to have a peripheral place in cultures and suffer from lack of status allows to manipulate materials translated for children in different ways to enable them cohere with the predictions of the accommodating culture. Beside that, children are not expected to tolerate as much strangeness and foreignness as grown-up readers, and therefore, changing of the content and tongue of source texts is often judged compulsory. Instead of being innovative, translated children’s literatures that’s why close to agree to conventional, accepted forms, models, and language. Nevertheless, children’s writing has an evident role as a instrument for education, socialization, development of linguistic skills, and widening global knowledge. Especially in small language societies, where best price translations constitute a significant proportion of printed children’s books, children are expected to arrive into relations with literature and its upbringing and amusing functions generally through translations. That’s why, translations may have a key role in introducing child readers to characters, situations, and English Polish translation, typical of fiction.
The term ‘baby literature’ usually addresses fiction targeted at readers from preliterate children to young teens; nonfiction, such as school materials, is left aside. Children’s fiction is, in fact, not a monolithic genre either; its various subgenres, e.g., jokes and dream-books, criminal writing, realistic stories, differ in means of purpose and language, that is pretended to affect the choice of translation methods. Here, however, children’s fiction is judged as one, albeit very complicated, genre. Despite children are the primary audience, children’s books actually have an crucial secondary target audience – adult readers, whose preferences and literary habits must be taken into account by both authors and translators. However, Oittinen insists on 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 childhood and the translator’s own child image.
In addition to the definition of two target audiences, children’s literature has a number of other distinguishing qualities, which have an effect on both the content and language of English Russian translate: strong ideological, didactic, ethical, and moral norms, ambivalence, goal at exceptional readability and speakability, and text–picture relationship.
Translation issues and their findings made at the stage of language tend to reflect, and result from, these gradually higher steps. Various approaches regulating the translation of children’s literature might be subsumed under the more broad concept of culture, or ideology in a neutral sense, addressing accepted assumptions, ideas, and views shared by a separate society or group. In fact, ideology is the overlapping unit, an umbrella concept, writing what is acceptable in children’s books. In general, children’s books are expected to be in a specific way enjoyable to children and enough easy in terms of plot, characterization, and language to be readable for smalls. 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 view, benefit the child reader. Moreover, notions of what is beneficial and comprehensible vary from nation to nation and change with time, which frequently leads to changing of source texts in translation.