One of the great problems confronted by translators is how to manage cultural specificity, since translation is usually occurs as an interlingual communication as well as a process of cultural transfer. In translating cultural specificity, two approaches are usually proposed, a foreignizing method or a domesticating method. Subtitling, as one of the more frequent ways of audiovisual translation, has its own requirements and constraints, which focusing on the target text as well as its receiving by an audience of different features and background from that of the original. To handle culture-certain terms in subtitling, a domesticating method is strongly advised, in line with which the strategy of adaptation is therefore suggested and then exemplified in subtitling as the dominant principle of dealing with cultural specificity, with a view to assisting viewers’ comprehension and evoking an equivalent result. It is generally agreed that translation is not simply a matter of language, but primarily a cross-cultural transfer or intercultural communication. The definitions of culture amount to over 200, each from its own perspective. The one that is directly substantial to translation is given by Ward H. Goodenough, an American ethnologist, who affirm that culture refers to the forms of things that people have in mind, their models for perceiving, relating, and otherwise interpreting them (Nord, 1997). For example, for Children's Literature Translation, the issue of cultural specificity becomes evident for some of those categories and subcategories of children's literature which usually abound in cultural-bound words and phrases: ballads, anonymous, stories, wise saying anf rhymes coming from the oral tradition (Hillman 1999); For instance, in Hronicul și Cântecul Vârstelor, an autobiographical book in which Lucian Blaga recounts his childhood and youth, the author uses the term vâlve,to refer to the fairies, in Romanian popular mythology and even in the English have the term fairies, this is best rendered into Romanian by means of the term zâne. The same happens in Ion Creangă’s Povestea lui Harap Alb in which the Red Emperor’s daughter is described as being a farmazoană , a regionalism used to designate a witch, a woman who is supposed to practice magic. The mentioned before regionalisms do not have a similar equivalent in English, so when they are translated, much of the expressiveness of the texts is lost. To sum up, we can mention that the study suggests that translation can be a useful tool to uncover deficiencies in students’ intercultural competence. It can also be used to raise awareness of issues in intercultural communication and in this way enhance their competence.