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Translation of child literature rises particular challenges owing to number of special characteristics of children’s readings and qualities of child readers. The situation that children’s literature tends to have a distant place in cultures and suffer from lack of status allows to manipulate texts translated for babies in different ways to enable them cohere with the expectations of the receiving culture. Furthermore, 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 passages is often judged necessary. Instead of being innovative, translated children’s literatures that’s why tend to agree to spread, set forms, pictures, and language. However, youth literature plays an important part as a instrument for upbringing, socialization, development of linguistic skills, and widening world knowledge. Especially in minor linguistic societies, where best rate translation constitute a significant proportion of published children’s books, children are expected to come into relations with literature and its upbringing and amusing functions generally through translations. Therefore, translations may play a key role in introducing child readers to characters, events, and Polish translation agency, typical of fiction.
The expression ‘baby books’ usually addresses fiction aimed at readers from smallest children to already teens; nonfiction, such as school materials, is omitted. Children’s fiction is, in fact, not a monolithic kind either; its different subgenres, e.g., fairy tales and fantasy stories, criminal writing, realistic stories, differ in means of purpose and language, that is likely to affect the choice of translation methods. Here, however, children’s stories is treated as one, albeit very heterogeneous, genre. Although teens are the primary readership, children’s books actually have an crucial additional target group – grown-ups, whose preferences and linguistic habits must be taken into account by all authors and translators. However, Oittinen insists on translating for children, instead of translating children’s literature, and underlies the importance 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.
In addition to the existence of two target groups, children’s literature has a lot of other distinguishing qualities, which have an influence on both the content and language of Russian translation: strong ideological, educational, ethical, and moral terms, ambivalence, goal at exceptional readability and speakability, and text–picture positioning.
Translation problems and their findings made at the stage of language tend to explain, and result from, these hierarchically higher levels. Various approaches regulating the translation of children’s literature might be aggregated under the more extensive concept of culture, or ideology in a general sense, addressing taken-for-granted guesses, ideas, and views shared by a particular nation and culture. Actually, ideology is the overlapping constraint, an umbrella concept, dictating what is acceptable in children’s literature. In a whole, children’s books are expected to be in some 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 text may be regarded as too simple to discover anything new and, in that view, benefit the child reader. Moreover, notions of what is advantageous and comprehensible differ from culture to culture and change with time, which often leads to manipulation of source texts in translation.