1. In the Mozart children’s book described by Carpenter, there are various forms onomatopoeia used to convey emotion. When translating this, how do you determine between using similar onomatopoeia in English, e.g. “ba-bum” for the heart, versus words and phrases like Carpenter did? Moreover, what are some examples of Japanese onomatopoeia that have no English equivalent and how they should be translated?
2. Carpenter brings up the poet Arthur Binard, and how he translated his own Japanese poem into English. One point Carpenter emphasizes is that Binard changed some of the original text to prevent English readers from misconstruing the character having a mother complex. In situations where details must be preserved, but doing so may cause issues due to cultural differences, what is the most ideal way for a translator to approach this?3. Carpenter notes the importance of creating authentic dialogue for The Hunter, as well as understanding technical jargon in Waiting on the Weather: Making Movies With Akira Kurosawa. Both of these go beyond simply understanding both languages. What are some ways a translator can overcome these challenges assuming they cannot receive the help such as Carpenter had?
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