Given its paradoxical nature, self-translation escapes a number of criticisms generally targeted at allographic translation : it cannot be criticised for not being the original, exactly like the original, or inferior to the original, since both texts originate with the same author ; it cannot be criticised for not being faithful, since the author is allowed liberties that ordinary translators are not, and could even close the text upon itself, limiting further attempts at retranslation. However, according to Antoine Berman, the objective of translation criticism is to explore the backstage of a translation project in order to grasp its weaknesses and thus lay the ground for future translations. An examination of the various modalities of proper names transfer in Felicia Mihali’s work, Le pays du fromage, enables us to highlight the contribution of translation criticism to an in-depth understanding of the self-translated text and its « translation horizon ».
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