ABSTRACT
Self-translation is no longer assumed to be the preserve of an elite class of literary prodigies. Over the past two decades, scholars have explored the complex products of self-translation; they have begun to analyse the range of bilingual writing processes employed by its practitioners; and they have categorised different poetic, geopolitical and commercial motivators or pressures (see Anselmi 2012; Gentes 2017; Ramis 2014). Most of this research is conducted from the basic understanding that self-translation involves “the translation of an original work into another language by the author” (Popovič 1976, 19), which sets it apart from other forms of allograph (non-authorial) translation.
