Translation Of Children Research Articles

Is translating poems for children a child’s play? A linguistic analysis of the English translations of “Lokomotywa” by Julian Tuwim

The aim of the present article is to demonstrate the challenges connected with the translation of children’s poetry, and to offer a qualitative analysis of different translation strategies employed in two English translations of the Polish poem for children “Lokomotywa” by Julian Tuwim. The translation analysis is based on the translation strategies proposed by Lawrence Venuti and Peter Newmark. It focuses on the linguistic and cultural differences between Polish and English, and examines the choices of the translation strategies made by the translators, and the impact they may have had on the reception of the poem in the target language. The comparison shows that although there may be some limitations in terms of the target language and culture, the translators are able to find suitable and effective solutions and simultaneously convey the source text’s form and content. The conclusions placed at the end of the paper summarise the features of both translations and emphasise those strategies employed by the translators which are effective and thanks to which the translations are likely to live up to children’s expectations.

The impact of awards on the translation and circulation of children’s literature into semi-peripheral and peripheral languages

ABSTRACT The article sheds light on the impact of awards on the translation of children’s literature into semi-peripheral and peripheral languages and its transnational circulation. In relation to literature for adults, it has been argued that awards instigate both translation and circulation. This article examines whether a similar claim holds true also for children’s literature translated into semi-peripheral and peripheral languages, taking Swedish and Maltese as respective examples. First, we examine to what extent laureates of the Hans Christian Andersen Award for Writing (1956-2018) have been translated into Swedish and Maltese. Then, we turn to circulation and examine the availability of the laureates’ work in the target contexts, looking at what may currently be acquired from libraries and online bookshops in Sweden and Malta. Contrary to previous claims made regarding literary awards, our findings show that this major award for children’s literature did not decisively stimulate translation neither into the semi-peripheral language Swedish nor the peripheral Maltese. With regard to circulation, however, the findings provide further support for claims made in the literature, since the work by the laureates circulate widely both in Sweden and Malta.

Namen von phantastischen Wesen und Orten in den Türkischübersetzungen von Michael Endes Fantasyroman Die unendliche Geschichte

The translation of children's and youth literature is of particular importance in Translation Studies but also poses many translation problems. However, there has so far been limited research that focuses on translation criticism in the field of children’s and youth literature. The aim of this study is to contribute to discussions on the translation of children’s and youth literature based on the example of Michael Ende’s fantasy novel Die unendliche Geschichte (1979) and its Turkish translations. Overall, there are four Turkish translations done by two translators Saadet Özkal (Ende 1986; 1999; 2017) and Saffet Günersel (Ende 1996). All translations have the same Turkish title Bitmeyecek Öykü. Translation work on the children's fantasy novel Die unendliche Geschichte involves many potential translation problems not least due to the use in the novel of specific visual, linguistic and stylistic means. Specific translation challenges in the novel include , inter alia, those that arise due to the prevalence of names of important fantastic beings and places, which indicate the author’s creativity. This analysis, conducted within the scope of functional and child-centered theory of translation (C. Nord and E. O'Sullivan), shows that different translation techniques were used by the translators to overcome the particular translation challenges in the novel in question. The results suggest that Özkal’s translations are source text oriented, and Günersel’s translation is rather functional and target reader oriented.

Readers’ Responses to The Reading of Translations of Children’s Story

<p class="8Abstractcontent">The goals of this paper are to seek the readers’ reactions, having gone through the two versions of English-to-Indonesian translations of children’s short story, and to explain the readers’ reactions to the two versions of the translations. The interview questions focus on the loanword or borrowing translation strategies employed by the student translators. Ten parents with children volunteered to read and respond to translation reading. The results show that the readers thought it would be better for the translators not to apply the borrowing procedure in translating children’s stories as it will hinder the meanings resulting in an uneasy feeling of reading the story to their children.</p><p> </p><strong>Keywords:</strong> reader reaction, children story translation, borrowing, equivalence.

THE STATUS OF ILLUSTRATIONS IN CROATIAN TRANSLATIONS OF CHILDREN’S CLASSICS

THE STATUS OF ILLUSTRATIONS IN CROATIAN TRANSLATIONS OF CHILDREN’S CLASSICS The paper presents a study of the visual discourses of Croatian editions of children’s classics translated from English into Croatian. It focuses on trends in using the original illustrations from the source texts or providing new illustrations in individual publications of target texts and on finding and interpreting semantic shifts in images provided by Croatian artists, in comparison with the illustrations in the first editions of the source texts. Interlingual translators adopt various strategies to cope with cultural and stylistic aspects of the source texts, and semantic shifts are almost inevitable. They are even more often perceived in translations of children’s literature. Children’s books regularly include intersemiotic translations of the verbal text in the form of images, which carry important narrative and cultural meanings. These may become fragile in translation. The analysis of images in Croatian publications with new sets of illustrations has detected modifications of original narrative meanings, leading to semantic shifts. Further, the analysis of the publishing practices has revealed a tendency in the recent period towards introducing new sets of illustrations more often than prior to the 1990s. Finally, the paper considers the reasons for and implications of these findings.

Russian Children Making Picturebooks in Foreign Languages

Russian Children Making Picturebooks in Foreign Languages Olga Mäeots (bio) The first competition of handmade picturebooks in foreign languages was launched twelve years ago by the children’s books department at the Library for Foreign Literature named after M. I. Rudomino, Moscow, Russia. This is a reading promotion project. The main goal of the competition is to give children ages seven to eleven an opportunity to create their own story in a foreign language they are learning at school. In picturebooks, text and images create the story together. Schoolchildren, when creating a story of their own, use both media to overcome the difficulties of a new language. Every year, a different theme is suggested for the books. Children create the book independently, without assistance from parents and teachers. The jury does not focus on the aesthetics of the book, as it is not an art competition. The theme is chosen to inspire children to discuss the topic with adults and learn something either from family history or a world children live in prior to independently creating the book. Some recent topics were “Our Family Heritage,” “Yesterday and Today,” “What Is Good and What Is Bad,” “My Dream,” “Living City,” and “Imagined Animal.” One year the theme was “When My Grandparents Were Young,” and children talked with their parents and grandparents. They learned a lot about history—not only family history but the history of their country, too. What a surprise it was for grandparents to read a book about themselves! Our competition also brings generations together and strengthens family ties. We support family reading. There are also organized master classes to help children in their work: professional illustrators and publishers explain for children the structure of the book, different technologies that are employed, and book art. Children are invited to see a wonderful collection of picturebooks from all around the world—the treasure of our library. The competition inspired great interest and is very popular not only with children but with parents and teachers as well. Every year, we exhibit all the books received from children. Unfortunately, many of them are very fragile. So, we invite children to show and read their books and make videos. It is an exciting archive! Children are eager to tell about themselves, their interests, and their achievements. Our picturebook competition gives them an opportunity to do that, and also makes them more confident in their talents and creative skills. [End Page 70] The final ceremony is a gala event. Publishers give new books to the winners, school classes get invitations to museums and exhibitions, and writers and illustrators congratulate their young colleagues. The competition helps the library to create a professional network—an important resource for future cooperation. Additionally, the children’s reading room welcomes new devoted readers—that is the main prize! In September 2018, IBBY president Mingzhou Zhang visited the Library for Foreign Literature. He was very much impressed by the books made by Russian children and expressed his desire to exhibit them in China. In April 2019, the traveling exhibition was launched, and Russian books have been exhibited in two schools in Beijing. In August 2019, fifty-one picture-books made by students were exhibited in Moscow. So, the books have carried out their important mission—to build bridges between cultures and bring children from different countries together. Olga Mäeots Olga Mäeots is a librarian, literary critic, translator, and curator of various projects on books for children. She is the head of the Children’s Books Department at the Library for Foreign Literature named after M. I. Rudomino, Moscow, and an assistant professor at the Moscow University of Print, department of illustration. She also translates from English, Swedish, and German into Russian and was included in the IBBY Honour List for her translations of children’s books. Copyright © 2020 Bookbird, Inc

Translation strategies in English to Persian

One implication of the results is for translators in the sense that they become aware of the translation strategies used in the Persian translation of the English novel 'Whatever after, Fairest of all' written by 'Sarah Mlynowski'. To be more particular, they become informed of the efficiency of the used strategies and therefore, can decide to use these strategies in their translations or try the other strategies. The other implication is that translation students become familiar with Klingberg‟s model and the strategies proposed in the model and how this model is applied in the Persian translation of the novel 'Whatever after, Fairest of all' written by 'Sarah Mlynowski'. To be more specific, since Klingberg‟s model is a popular and detailed model in the area of translation of children‟s literature, this awareness can help them as future translators in translating children‟s literature. The other implication of the results is that those involved in the industry of children literature take new insights about the strategies used in translation of a popular work of this genre.

Od Verne’a do Tulleta. Sto lat obecności francuskiej literatury dla dzieci i młodzieży na polskim rynku książki

W artykule recenzyjnym omówione zostały dwie książki Natalii Paprockiej (2018): Bibliografia polskich przekładów i adaptacji francuskiej literatury dla dzieci i młodzie­ży wydanych w latach 1918–2014 oraz Sto lat przekładów dla dzieci i młodzieży w Pol­sce. Francuska literatura dla młodych czytelników, jej polscy wydawcy i ich strategie (1918–2014), wpisujące się zarówno w kontekst translatoryki literatury dziecięcej, jak i bibliologii oraz socjologii sztuki. W artykule scharakteryzowano układ zestawionej przez Natalię Paprocką bibliografii polskich przekładów francuskiej literatury dla dzieci i młodzieży oraz streszczono najważniejsze założenia jej badań: wykorzystano w nich koncepcję pola literackiego Pierre’a Bourdieu, pojęcia importu/transferu i repertuaru kulturowego w rozumieniu Itamara Evena-Zohara oraz teorię aktora-sieci Brunona Latoura. Według badaczki w ciągu całego stulecia wśród polskich wydaw­ców dominowała polityka wznowień klasyki, co pociągnęło za sobą bardzo ograni­czony transfer zjawisk innowacyjnych we francuskiej kulturze dziecięcej.

EL TRADUCTOR Y LOS CONVENCIONALISMOS: ¿MANTENER LA HETERONORMATIVAD O FAVORECER LA INCLUSIÓN?

En este trabajo pretendemos mostrar cómo la heteronormatividad imperante en nuestra sociedad se impone en muchos casos en el ámbito de la traducción, especialmente en el de la literatura infantil y juvenil (LIJ), llegando incluso a crearse, para las versiones traducidas, personajes inexistentes en las obras originales que permitan hacer desaparecer formas familiares monoparentales, cada vez más habituales y aceptadas hoy en día. De esta forma se consigue presentar al niño en el seno de familias tradicionales con un padre y una madre que posean, además, roles, también tradicionales, claros y definidos como tales. Es el caso de las traducciones del alemán al español de la obra de Eveline Hasler Der Löchersammler, donde se mantienen los roles machistas heteronormativos del texto original, y de algunas de las novelas de la famosa serie infanto-juvenil Kika, superbruja, del creador alemán KNISTER, donde es la traducción la que introduce repartos machistas de roles sociales en la versión española

The Appeal of Foregrounding in the Translation of Children’s Literature

There is a huge market demand for children’s literature, but the quality of its translation is far from satisfactory. Many of the translated works blindly pursue content equivalence, while the un=ique language form of the original is ignored. In children’s literature, foregrounding, as a major literary stylistic feature, plays an important role in reproducing linguistic appeal. Based on the concept of foregrounding, this paper discusses the appeal of foregrounding in children’s literature translation from three aspects: auditory sense, visual sense and emotional sense.

Translation of Children’s Picture Book

Children’s story books serve not only as a medium of verbal communication but also as that of non-verbal one. Messages conveyed through children’s story books will not be attracting to children if not accompanied by their non-verbal forms, such as pictures and symbols. Therefore every story book should be able to influence the child psychologically through pictures or symbols. This in turn affects the process of translating children’s storybook texts, including in determining translation techniques. This study examines the technique of translating Balinese children’s story books from English into Indonesian. This study was conducted with a qualitative research design. The results of the study show that the translation of Balinese children’s textbooks is mostly done literally using simple language. The writing children’s story books emphasizes the presentation of non-verbal forms of communication to foster and maintain their interest in reading. The writing and translation of children’s story texts is based on consideration of their psychological aspects so that the translator avoids the use of complicated words.

Translation of Children’s Picture Book

Translation of Children’s Picture Book

A Healing Source of Children’s Literature

The diverse activities by writer Olena Pchilka, her great contribution to the development of the children's literature, Ukrainian home education are disclosed in the article. She has played an important role as an organizer, publisher of the children's literature in Ukraine in the midst of a crucial period of the late XIX – early XX centuries. She was a whole literary institute in one's personality, an inexhaustible source, which generously healed and inspired. In circumstances where the national culture desperately needed education, Olena Pchilka has played a unique role by mobilizing all forces for the creative development of native words. For example, the author's own family has developed and applied those ideological and educational principles, which, in her opinion, it was necessary to put in the foundation education of Ukrainian youth. Olena Pchilka authored a large number of poems, short stories, dramas, translations for children. Children's problems and national patriotic education occupied a special place in the creative activity of the writer. She made many exclusively to bring into reality the national parenting. Despite a ban by the Russian Empire learning and education in Ukrainian, Olena Pchilka has created a good base for learning Ukrainian children in a spirit of national patriotism.

La restitution de l’« effet-monde » dans le récit

Abstract This article aims to study the recreation of the “world-effect” in the translation of a narrative text. Using a corpus made up of three Chinese translations of Charles Perrault’s Sleeping Beauty published in different periods, we find that in the translation of children’s literature, the translator may face various difficulties (ex. the sociohistorical constraints, editorial policy…). Thus, he often tends to adopt different strategies (Chinesizing, exotisizing, infantilizing) which would inevitably lead to different effects for the target readership.

Do balão para a linha: as histórias em quadrinhos como modelo de tradução do diálogo na literatura infantojuvenil

A literatura e as histórias em quadrinhos (HQs) são linguagem distintas, mas têm pontos em comum. Este trabalho tem como foco um deles: o diálogo. Apresentam-se alguns aspectos da linguagem das HQs no que tange às falas, seu caráter oral e as tendências de seu uso no português brasileiro. Sugere-se que a interseção desses aspectos corresponde a uma série de propostas defendidas por Britto (2012) a respeito do efeito de oralidade da tradução de diálogos na ficção literária. Por fim, propõe-se que as HQs da Turma da Mônica podem servir de modelo para a tradução de diálogos na literatura infantojuvenil.

Who are you, Maria dear? Recepção de uma proposta de tradução de "As meninas", de Cecília Meireles, entre crianças na Inglaterra

Em se tratando de poesia, tradutores idealmente procuram recriar, no poema de chegada, correspondentes para todos os atributos poéticos (métrico, fônico, prosódico, semântico) identificados no poema de partida. Na prática, entretanto, somos levados a escolher quais desses atributos priorizar, uma vez que "correspondência em todos os níveis, sem nenhuma perda, é raramente possível em tradução poética" (Britto, 2002). Não raro nos perguntamos em que medida as alterações, cortes ou acréscimos, feitos em nome da métrica ou da rima, por exemplo, interferem na interpretação do poema traduzido. Nas traduções para o público infantil, há um complicador que intensifica a dúvida: a relação assimétrica (maturidade, bagagem cultural e linguística) entre as crianças leitoras e os adultos que escrevem ou traduzem para elas (Azenha, 2008). Para reduzir essa assimetria e garantir a aceitação da obra junto ao público, é recomendável que os tradutores procurem se aproximar da linguagem do tempo para o qual traduzem (Azenha, 2005), além de terem algum contato com crianças da idade daquelas para quem traduzem (Lathey, 2016). Em que pesem as recomendações de Azenha e Lathey, e os avanços nos estudos sobre tradução de literatura infantil feitos nos últimos trinta anos, ainda são poucos os estudos que levam em conta a resposta do público leitor. Neste artigo, pretendo dar minha contribuição para reduzir essa lacuna: primeiro apresento minha proposta de tradução do poema "As meninas", de Cecília Meireles, e em seguida os dados de duas vivências com grupos de crianças estrangeiras de 9 e 10 anos de idade, que leram e discutiram o poema traduzido, intitulado "Girls at the window". As vivências foram realizadas em duas escolas da Inglaterra, dentro da prática de letramento Pensar Alto em Grupo (Zanotto, 2014), também brevemente explicada neste artigo.

The translation of sex-related content in Peter Pan in China

ABSTRACTThis article discusses how sex-related content is rendered in three Chinese translations of James Matthew Barrie’s Peter Pan (1911): Liang Shiqiu (1929), Yang Jingyuan (1991), and Ren Rongrong (2011). From the 1920s to the present, several major social and cultural events in China have each had a profound influence on the social environment, the literary climate, and state ideology, with implications for both publishing and translating. This article investigates how Peter Pan’s rich subtext and its readership duality interacted with China’s socio-cultural context at different historical moments, resulting in translations with contrasting textual features. It is found that Liang’s translation is the most tolerant of sex-related content, owing to the relatively liberal socio-cultural environment and relaxed censorship protocol of the 1920s. Ren’s translation is found to be the most conservative version due to its sensitivity to what is expected of translations for children in contemporary China.

Pediatric Formulations: Knowledge Gaps Limiting the Expedited Preclinical to Clinical Translation in Children.

Traditionally, drug discovery and development research have been primarily focused on the mitigation of disease treatment for the general adult population, often overlooking the medical needs of pediatric patients. While remarkable progress toward the discovery of better medicines has been made, the pharmacological differences between children and adults are often neglected as part of the translation process. In fact, until recently, children have been considered therapeutic orphans due to the lack of significant drug discovery, formulation development, and dosage form design specifically tailored for pediatric patients. Perhaps the least understood is the significant physiological changes that occur during the maturation process from birth to adulthood. It requires careful considerations to achieve age-specific-desired therapeutic outcomes with minimal toxicity. This introduces considerable risk into the preclinical and clinical testing of new medicaments, which until recently, was avoided based on the conventional approach where a demonstration of safe and efficacious use in adults over several years potentially would minimize the chance of adverse juvenile responses. However, the lack of appropriate drug products for children has led to off-label use of adult medicines with potential life-threatening adverse reactions and health complications. Recent developments and future considerations regarding pediatric drug discovery and development using a patient-centric approach in the context of ontogenic biopharmaceutical considerations are discussed below.

Le traducteur jeunesse en préfacier : Stahl adaptateur de Silver Skates

In this article, the notion of adaptation in the translation of children’s literature is reconsidered in the lights of Pierre-Jules Hetzel’s note “To the reader”. Hetzel, French editor and publisher, as well as translator under the pseudonym of Stahl, adds this note as a preface to his French adaptation of Silver Skates, published in 1875. His reflections invite us to deepen our understanding of the notion of adaptation in children’s literature. In particular, it seems urgent to put it in relation to the different sub-genres of children’s literature and to reconsider it in the light of the ‘words’ expressed by children’s literature translators, to favour a deeper connection between translational research and translational practice.

From Green Gables to Grönkulla: The Metamorphoses of Lucy Maud Montgomery’s Anne of Green Gables in its Various Swedish Translations

This paper examines Swedish translations of Lucy Maud Montgomery’s Anne of Green Gables (1908), a novel that has maintained the status of a children’s classic in the Scandinavian countries for more than a century. I explore the background conditions of this long-lasting reception by analyzing significant differences between source and target text within this series of translations. All the translations have been adapted to the context of their target culture in general and shaped to address an audience of young female readers in particular. Many of the interventions correspond to general patterns in translations for children and reflect contemporary assumptions about the needs of young readers: they emphasize domestication over foreignization and add clarifying comments and explanations to cultural elements unfamiliar to Swedish readers. Some minor inconsistencies point to turbulences within the translation process and highlight the low esteem for children’s fiction within the literary system. Other, more consistent changes can be attributed to programmatic decisions that affect the very premises of Anne of Green Gables. The handling of intertextual references and some major abridgements reveal a tendency to disambiguate the protagonist’s cross-over status between girlhood and adulthood, and clarify her often blurry position between the realms of imagination and reality. This results in the seemingly paradoxical result that the success of Anne of Green Gables in Sweden is founded on decisions that have narrowed down its literary scope.