The latter case is represented, for example, by James Joyce's self-translation into Italian of two passages from his "Work in Progress" (later entitled "Finnegans Wake").
The latter case is represented by a few Belgian poets of the period between the two World Wars (among them Roger Avermaete and Camille Melloy), who self-translated their texts into Flemish shortly after completing the originals in the acquired yet fully mastered French language.
[14] If not based on the intrinsic qualities of the secondary text, arguments against self-translation may reflect specific socio-cultural considerations or a desire to criticize dubious editorial practices.
[16] Some of the prominent self-translators are Chaucer,[17] Thomas More,[18] Vladimir Nabokov,[19] Samuel Beckett,[1] Karen Blixen,[20] Chinghiz Aitmatov and Julien Green.
[22] Countries where literary self-translation is predominantly seen are Africa, China, France,[23] India,[24] Spain,[25] and the United States.
Algerian self-translators include Rachid Bouudjedra, Assia Djebbar and Mohammed Sari, who translated their works from French into Arabic or vice versa.
[36] Self-translations by Italian writers have been offered, at various times, by Fausto Cercignani,[37] Italo Calvino,[38] Beppe Fenoglio,[39] Carlo Goldoni,[40] Luigi Pirandello,[41] Giuseppe Ungaretti,[42] and others.
[52] The song cycles "there..." and "Sing, Poetry" on the 2011 contemporary classical album Troika consist of musical settings of Russian poems with their English self-translations by Joseph Brodsky and Vladimir Nabokov, respectively.
[53] Jung, Verena (2002): English-German Self-Translation of Academic Texts and its Relevance for Translation Theory and Practice Frankfurt: Peter Lang.