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The activity of self-translation may be seen as a  mise-en-scène  of the hybrid auctorial self, as well as an ideal stage for a reconstruction of meanings, through a second original. As a (re)creative paradigm, self-translation echoes the concept of  poiesis  as a ‘bringing into appearance’, according to Heidegger’s interpretation, namely as a crystallisation of the refracted facets of language and self. In this connection, the genetic approach may represent a tool to access the aesthetic world of the writer (the  poietes ) and to explore his (re)creative process. This paper discusses the case-study of the distinguished Taiwanese poet Yu Guangzhong (1928–2017), and his self-translated poetry collected in  Shouye ren  守夜人/ The Night Watchman . Through a comparative reading of three selected bilingual poems with their manuscript versions, this paper aims to investigate Yu’s poetics of self-translation, while observing through the multi-layered spectrum of a linguistic and cultural rendering.

The prism of self-translation: poiesis and poetics of Yu Guangzhong’s bilingual poetry