C. Terry
In this text, the author says, "the problem of deciding whether words mean what they seem to mean or not. For example, the dictionary simply does not tell you that junnama does not mean what it says, whereas gennama does. You have to learn these things from experience." I think this problem can be portrayed in both translation texts, 季節の話題and 城ガール. In the first text, there is this saying such as オールマイティー. In this context, it doesn't necessarily mean "ultimately." So we have to come up with an alternative English expression that resembles this saying which is really a pain in this ass when translating. As one of us in the class said, we could translate it as "an ace" which is very clever. In the latter text, there is also unique Japanese saying such as 城ガール and 歴女. Translating these words can also be difficult because we do not have exact words for those expressions. In this case, you just have to come up with a not awkward word to properly translate it.
L. Riggs
After reading Riggs' text, I resonate with his statement that says "But the transmigration is far from complete. This is where the process of creating a genuinely English text really begins. Only now the work is more like writing than translation." 城ガールtranslation text is a great example of the problem of transmigration. The article 城ガール is not written for a non-Japanese audience, and its targeted audience is a small and homogenous group of Japanese readers. So when translating, you have to take into consideration that English readers may know nothing about Japanese culture. This gets hard because you have to write it entirely differently so that English readers would understand and can read with no problem. I believe that this kind of problem can occur in any situation when translating, not just when translating magazines. Memoirs of Geisha, for example, must have been very challenging to translate into English since Geisha doesn't even exist in the Western world.
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