作为中国文学“走出去”的生动实例，打工诗歌获得了国内外读书界的广泛关注，其英译数量近年来迅速增长。但翻译打工诗歌不仅仅是单向的文化传播，其背后隐藏的权力机制和认知暴力也在挪用、改写打工诗歌。对“打工诗歌”这个专有名词命名权的争夺是译者行使权力的时刻；许立志作为打工诗人的重要代表，他的双重身份在他自杀的危机时刻又使他的故事沦为为各方权力服务的附属品；第一册英译本打工诗歌选集《铁月亮》作为文化产业链条的一环，编者的认知暴力直接决定了文本的“生死”。打工诗人作为被翻译之人处在复杂的权力场域的制约之中。

As a vivid example of Chinese literature 'going global', Dagong poetry has received widespread attention from the reading community at both domestic and international levels, and the number of English translations has grown rapidly in recent years. However, translating Dagong poetry is not only a one-way cultural transmission, but also a hidden mechanism of power and cognitive violence that appropriates and rewrites working poetry. The struggle over the naming rights of the proper name 'Dagong poetry' is a moment of power exercised by the translators; and Xu Lizhi's dual identity as an important representative of working poets makes his story an appendage in the service of power in the moment of crisis when he committed suicide. As a link in the chain of the cultural industry, the cognitive violence of the editors directly determines the 'life and death' of the text. The Dagong poet, as translated people, is in the grip of a complex field of power.