Translation to Children’s Fairy Tales
Translating of children’s books rises particular issues owing to number of special values of children’s books and qualities of child audience. The fact that children’s literature tends to have a distant position in cultures and disadvance from not enough of status allows to manipulate texts translated for babies in different ways to make them accord with the expectations of the accommodating culture. 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 considered necessary. Instead of being innovative, translated children’s literatures thus tend to agree to conventional, set forms, pictures, and language. However, children’s writing plays an evident role as a tool for education, socialization, development of linguistic skills, and spreading world knowledge. Especially in minor linguistic societies, where translation rates account for a large proportion of published children’s literature, children are expected to come into contact with literature and its upbringing and amusing functions generally through interpretations. Therefore, translations may play a vital role in introducing child readers to characters, situations, and English Polish translation, typical of fiction.
The expression ‘children’s literature’ often addresses reading aimed at readers from smallest children to young teenagers; nonfiction, such as school textbooks, is left aside. Children’s fiction is, in fact, not a monolithic kind either; its various subgenres, e.g., jokes and fantasy stories, detective novels, 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 treated as one, albeit very complicated, genre. Although teens are the primary audience, children’s books actually have an crucial additional target audience – grown-ups, whose wishes and literary tastes must be taken into account by both writers and translators. But, Oittinen insists on translating for children, rather than 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 image.
In addition to the existence 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 Russian translation: stressing ideological, didactic, behavioral, and moral terms, ambivalence, goal at exceptional readability and conformity, and text–picture relationship.
Translation problems and their findings made at the level of language tend to reflect, and result from, these hierarchically higher levels. different approaches mediating the translation of children’s books might be aggregated under the more broad vision on culture, or ideology in a neutral sense, referring to taken-for-granted assumptions, ideas, and values shared by a particular society and group. Actually, ideology is the overlapping unit, an umbrella idea, dictating what is acceptable in children’s literature. In general, children’s books are expected to be in some way enjoyable to children and enough simple in terms of idea, situation development, and language to be readable for smalls. These two requirements may sometimes be contradictory. For example, a maximally understandable text may be treated as too simple to teach some new and, in that respect, benefit the child reader. Beside that, notions of what is beneficial and understandable differ from culture to culture and change with time, which often leads to manipulation of initial texts in translating.