Karolina Albińska

Morning show, understood as a specific radio megagenre, since its dawn has tried to inscribe in the listeners’ environment of life by adjusting to the rhythm of their day but also by shaping their daily routines. This article analyses the origins of the identity of this type of programmes which date back to the times of the Golden Age of the American radio broadcasting. On the background of technological, economic and social conditioning of the era, it shows their historical changes in the years 1920-1950 of the XX c. However, the description of this evolution – from the morning shows with the underspecified “anatomy” and vague existence in the ether to the preforms such as participation programs – may be treated as a prelude to the understanding of the tendencies that determine the existence of the contemporary sequential broadcasts that are transmitted by radio at dawn.
 

No doubt the world without Winnie the Pooh, Pippi Longstocking, Pinocchio or Moomin Trolls would have been less colourful. Characters from fairy tales imperceptibly slip into young readers’ minds and tend to stay there forever. Children accept them unconditionally and do not ask questions about their descent. Children’s response to books is usually very spontaneous: a love at first sight or an immediate dislike. Therefore, it is very important that they receive “the best” – not only beautiful and wise books but also books that are skillfully translated. Discussing the role of the translator of children’s literature, this article focuses on the child – translator relationship and the translator – author dichotomy. It points to different attitudes toward the translator’s creativity and “visibility.” It examines terminological ambiguities of such notions as “adaptation,” “reconstruction,” “rewriting” and “translation.” Finally, it deals with translation challenges that arise from didactic, entertaining and aesthetic functions of children’s books

“Nothing but the best is good enough for the young.” Dilemmas of the Translator of Children’s Literature
No doubt the world without Winnie the Pooh, Pippi Longstocking, Pinocchio or
Moomin Trolls would be less colourful. Characters from fairy tales imperceptibly
slip into young readers’ minds and tend to stay there forever. Children accept them
unconditionally and do not ask questions about their descent. Children’s response
to books is usually very spontaneous: a love at fi rst sight or an immediate dislike.
Therefore, it is very important that they receive “the best” – not only beautiful and wise
books but also book that are skillfully translated. Discussing the role of the translator of
children’s literature, this article focuses on such issues as child–translator relation and translator–author dichotomy. It points to different attitudes toward the translator’s
creativity and “visibility.” It examines terminological ambiguities of such notions as
“adaptation,” “reconstruction,” “rewriting” and “translation.” Finally, it deals with
translation challenges that arise from didactic, entertaining and aesthetic functions of
children’s books.