داستایفسکی به عنوان مترجم بالزاک (مطالعات در ادبیات تطبیقی و تاریخ اندیشه)

This book focuses on Dostoevsky’s first literary publication—his 1844 translation of the first edition of Balzac’s __Eugе́nie Grandet__ (1834). Through the prism of close reading, the author analyzes Dostoevsky’s literary debut and the stylistic choices he made while working on Balzac’s novel in the context of his future mature aesthetic style and poetics. "The focus of this study in comparative criticism is close analysis of Dostoevsky's first literary publication-his 1844 translation of the first edition of Balzac's "Eugénie Grandet" (1834)-and the stylistic choices that he made as a young writer while working on Balzac's novel. Through the prism of close reading this book analyzes Dostoevsky's literary debut in the context of his future mature aesthetic style and poetics. Comparing the original and the translation side by side, this study focuses on the omissions, additions, and substitutions that Dostoevsky brought into the text. It demonstrates how young Dostoevsky's free translation of "Eugénie Grandet" predicts the creation of his own literary characters, themes, and other aspects of his literary output that are now recognized as Dostoevsky's signature style. It investigates the changes that Dostoevsky made while working on Balzac's text and analyzes the complex transplantation of Balzac's imagery, motifs, and character portraiture from "Eugénie Grandet" into Dostoevsky's own writing later on"-- Provided by publisher The focus of this study in comparative criticism is close analysis of Dostoevsky's first literary publication—his 1844 translation of the first edition of Balzac's Eugе́nie Grandet (1834)—and the stylistic choices that he made as a young writer while working on Balzac's novel. Through the prism of close reading, the author analyzes Dostoevsky's literary debut in the context of his future mature aesthetic style and poetics. Comparing the original and the translation side by side, this book focuses on the omissions, additions and substitutions that Dostoevsky brought into the text. It demonstrates how young Dostoevsky's free translation of Eugénie Grandet predicts the creation of his own literary characters, themes, and other aspects of his literary output that are now recognized as Dostoevsky's signature style. It investigates the changes that Dostoevsky made while working on Balzac's text and analyzes the complex transplantation of Balzac's imagery, motifs, and character portraiture from Eugénie Grandet into Dostoevsky's own writing later on.