I think the way she goes about translating the onomatopoeia is probably the best way to approach it. The Japanese language has a lot of onomatopoeia with many classifications such as giseigo, giongo, gitaigo, giyougo, and gijougo. English doesn't have many sound-based words except for animal sounds and maybe a few others so it's quite hard to translate onomatopoeia directly. The example she gave with waku waku and doki doki was a good representation of how to go about it as they give off the same meaning one translated into English but she used context to differ them in order for English readers/children to be able to tell them apart instead of having them both translated as excited. Her coloring book analogy is very interesting because it is true, as a translator, you are in control of how your English audience (or any other language) perceives the piece of work since they are not able to read the original. You can be the one who gives more life to the piece just like in a coloring book, it is black and white but you can give it life and color with your perceptions and your uniqueness. She talks about translating poetry and something that I noticed in my own translations of the tanka we did for homework is that I don't tend to keep things in the same order when I translate because I feel like if I stuck by the same order 100%, it wouldn't flow as smoothly or sound as good but I guess this way, it could change the meaning of the poem entirely.
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