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This article examines the diverging translations of an unnamed protester photographed several times throughout the early days of the 2011 Egyptian uprisings. Using iconographic tracking, the paper argues that self-seductive translation is an important concept for critical cultural studies. Self-seductive translation targets neocolonial audiences with an identification chain that obscures the asymmetry of the neocolonial relationship. In the case of the unnamed protester, self-seductive translation encouraged US English speakers to identify themselves as equals with the imaged protester, where the now-equal relationship is delivered by tools and technology of the West.

“Thank you … . Facebook”: neocolonial practices of translation as self-Seduction