Translation of Baby Fairy Tales
Translation of child papers poses particular issues owing to number of special values of children’s readings and qualities of child audience. The fact that children’s book tends to have a peripheral 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 cohere with the expectations of the accommodating surrounding. Furthermore, children are not expected to temper as much strangeness and foreignness as adult readers, and therefore, changing of the content and language of initial texts is often judged necessary. Instead of being innovative, translated children’s literatures that’s why close to agree to conventional, set expressions, pictures, and language. However, children’s writing plays an important role as a tool for upbringing, involvement, development of linguistic skills, and widening global knowledge. Especially in small language societies, where translation quote account for a large share of published children’s books, children are likely to come into contact with literature and its upbringing and amusing functions mainly through translations. That’s why, translations may play a key role in presenting children to characters, events, and English Polish translation, typical of fiction.
The term ‘baby books’ usually refers to reading aimed at readers from preliterate children to already teens; nonfiction, such as school materials, is left aside. Children’s fiction is, in fact, not a uniform kind either; its various subgenres, e.g., fairy tales and dream-books, criminal 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 complicated, genre. Although children are the primary audience, children’s books actually have an crucial additional target group – adult readers, whose preferences and literary tastes must be taken into account by all writers and translators. But, Oittinen advocates translating for small ones, rather than translating children’s literature, and underlies the significance of children’s culture and their magical 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 audiences, baby literature has a lot of other distinguishing features, which have an influence on both the content and language of Russian translation: stressing ideological, educational, behavioral, and moral norms, ambivalence, aim at exceptional readability and speakability, and text–picture relationship.
Translation issues and their solutions made at the level of linguistic skills tend to reflect, and result from, these gradually higher levels. different approaches mediating the translation of children’s literature might be aggregated under the more extensive vision on culture, or ideology in a general sense, addressing taken-for-granted assumptions, beliefs, and values shared by a particular society or culture. Actually, ideology is the overlapping unit, an umbrella idea, writing what is acceptable in children’s literature. In a whole, children’s books are expected to be in a specific way beneficial to children and sufficiently easy in terms of idea, characterization, and language to be comprehensible. These two requirements may sometimes be contradictory. For example, a maximally understandable book may be treated as too simple to teach anything new and, in that respect, benefit the child reader. Moreover, notions of what is advantageous and comprehensible differ from nation to culture and change with time, which often leads to manipulation of source texts in translation.