Crystallization of writer’s method through the practice of literary translation (What shows the F. Dostoyevsky’s translation of Balzacian «Eugenie Grande»

Abstract

Aim The article set the object to constitute and study the problems of the creative background of the author’s writing which is often ignored by the traditional approach to the analysis of the formation of the author’s style.

Methods The main method of research is a comparative practice in the aspect of the theory of reception. The translation experience, selected as the initial source of the author’s method, appears in this case as a first step in identifying of his own stylistic preferences.

Results The article shows that the writer’s creative laboratory begins to stir up much earlier than his own artistic texts are included in the library circulation. The special weight is given to translation experience, which, in fact, began the creative way of F. Dostoyevsky. The article emphasizes the need for attention to the previous writer experience of the author, which includes the practice of forming a receptive fancy and the previous active «non-fictional writing» (correspondence, diaries, notes, etc).

Scientific novelty Based on the analysis of a particular translation sample, the present research shows, that the properties of the image and psychology description of F. Dostoyevsky’s hero proceed at the opposite side of the balzacian style, while keeping in their own style the memory of the sample, with its romantic and realistic synthesis.

Practical significance The accentuation of F. Dostoyevsky’s translation practice of French source (the novel by H. de Balzac «Eugénie Grandet») henceforth has to direct the researchers attention in the direction of revelation of those borrowed elements, which produce their own original style dominants.