Spread out by a gurgling river, surrounded by mountains and green fields, the village of Belanica is described by those who dwelt there as a place where orchards flourished, the earth was rich, and time passed unhurried among neighbors who had known each other all their lives. Over the course of 24 terrifying hours, up to Serbian soldiers and police invaded, sacked and laid waste their placid farm community in south-central Kosovo. Even before they swooped in on April 1, the Yugoslav army had shelled dozens of nearby towns and villages, systematically herding an estimated 80, ethnic Albanians into the center of Belanica. Trapped there with their cars, tractors, wagons and few remaining possessions, they became defenseless prey for a pitiless gang that was as intent on robbery and humiliation as it was on obliterating centuries of ethnic Albanian history in the province. The tales of killings, robberies, rapes and burning in one small village provides a clue to the scale of the crimes that have been committed, and continue to be committed, across Kosovo. On the bridge at Morine, a remote Albanian border post, one can see what Belanica has become: another part of the overwhelming tide of human suffering that has been pouring out of Kosovo during the past month. Watching the refugees arrive, disheveled, dirty, unshaven, rumpled and red-eyed, children clinging to mothers or staring blankly ahead, people lying in piles of pathetic mattresses and soiled blankets, coats and sweaters, is disturbing--not only for what it shows about the capacity for human cruelty.
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All over the world it appeals to children and adults alike. Do they stick to it or do they rather adapt the story more clearly to children? The corpus consists of the original Danish text and fourteen translations and adaptations in six languages. The research focuses on the implied dual audience as it is given shape in source and target texts on the phonological, lexical-semantic, syntactic and pragmatic levels. The first part of the article investigates how substitutions, omissions and rearrangements might change the dual orientation of the text. The second part deals with the additions and examines how they influence the divertive, creative, emotional and educative function of the text. It is also one of the most universal. The story about an emperor who is unwittingly tricked into parading about in the nude appeals to young and old everywhere in the world. Children, particularly, grasp and enjoy the literal meaning of the story: for them an emperor an adult authority figure who walks around stark naked is funny in itself; adults gloat over the figurative dimension: the vanity and the puffed-up authority which are shattered. Although Andersen modelled this famous fairy tale after the 14 th century story El libro de los exemplos de conde Lucanor et de Patronio by the Spanish author Juan Manuel, it fit in with his own life and work.
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