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Sei es die Suche nach Heimat und Identität in der scheinbar grenzenlosen Weite der Wüste ('Lawrence of Arabia', 1962), die Flucht in die Stille der eiserstarrten Weite Russlands ('Dr. Zhivago', 1965), der kollektive Widerstand im unbekannten Birma ('The Bridge on the River Kwai', 1957) oder die verstörende Konfrontation mit sich selbst in der Fremde des polyphonen Indiens ('A Passage to India', 1984) – Leans Filme, ihre Bildästhetik, aber vor allem ihre Geschichten von Begegnungen mit fremden Welten und unbekannten Kulturen, von teils privaten, teils großen Abenteuern sind bis heute unvergessen. In Erinnerung geblieben ist vor allem ihre bildgewaltige Erzählweise: großformatige Kameraeinstellungen wie die der purpurrot aufgehenden Sonne über der arabischen Wüste; das bizarr-romantisch verschneite Anwesen in Varykino oder die effektvolle und symbolträchtige Brückensprengung durch den tödlich verwundeten Nicholson – Bilder, die sicherlich nicht nur die Kinoästhetik ihrer Zeit revolutioniert, sondern auch auf der Cinemascope-Leinwand den Zuschauer gefesselt und begeistert haben. Die Arbeitsthese dieser Arbeit ist, dass sich die Filme von David Lean über immer wiederkehrende Erzählmuster beschreiben lassen, bei denen ‚Räume‘ eine wichtige Funktion übernehmen. Räume übernehmen auch auf der Ebene der Erzählung eine Funktion und sind jenseits ihrer ästhetischen Erfahrbarkeit relevant. Zu Beginn von Leans Filmen findet der Zuschauer eine Art topografische Landkarte (topografische Räume) vor, die von unterschiedlichen Figuren mit jeweils unterschiedlichen Bedeutungen aufgeladen wird (semantische Räume). Was Leans Hauptfiguren mit bestimmten Räumen verbinden, widerspricht der herrschenden Norm ihres Umfeldes: Hier trifft Heimat auf Fremde, Himmel auf Hölle, Abenteuer auf Gefahrenpotenzial. An den Grenzen der Bedeutung von Räumen entstehen also inhaltliche Konflikte: Leans Hauptfiguren sind ‚anders‘, sehen ihre Welt ‚anders‘, entsprechen damit nicht der Norm und werden von ihrem Umfeld als Störfaktor wahrgenommen., Dank ..... 9 1 Leans Filme im Spannungsfeld zwischen Restauration und Revolution ..... 11 1.1 Alienität und Alterität: Der Cultural Turn und die Postcolonial Theory ..... 20 1.2 Der Spatial Turn: Der Raum als Dispositiv zur (filmischen) Wirklichkeitserzeugung ..... 24 1.3 Der ‹Raum› als narrative Strategie: Die Strukturale Erzähltheorie nach Lotman ..... 31 1.4 Leans Hauptfiguren als Störfaktor der Geschichte: Ein Forschungsüberblick ..... 42 2 THE BRIDGE ON THE RIVER KWAI: Ein Spiel mit Bedeutung zwischen Krieg, Wahnsinn und Prinzipientreue ..... 53 2.1 Räume und Grenzen in The Bridge on the River Kwai: Befunde einer Annäherung ..... 53 2.2 Die sujetlose Ebene ..... 57 2.2.1 «He’s mad»: Das Raumkonzept der Alienität ..... 57 2.2.2 «[He] defines the word differently»: Das Raumkonzept der Alterität ..... 65 2.2.3 Die Grenze der Textwelt ..... 70 2.3 Die sujethafte Ebene: Die Ironie der Bedeutungsverschiebung ..... 77 2.3.1 Kollision und rhetorische Vertauschung: Die Strategien von ‹Eigen- und Fremdsetzung› ..... 77 2.3.2 Die Ereigniskette: Von der alienen zur alteritären Ordnung ..... 86 2.3.2.1 Das Ereignis: Die Akzeptanz der Genfer Konvention ..... 86 2.3.2.2 Das Metaereignis: Die Übernahme des Brückenbaukommandos ..... 92 2.3.3 ‹Bedeutung› als ironisches Konstrukt: Alterität im Modellversuch ..... 97 2.3.4 «What have I done?»: Grenzwiederherstellung und Ereignistilgung ..... 106 2.3.5 «There’s always the unexpected»: Die Ironie der Geschichte ..... 115 2.4 The Bridge on the River Kwai: Eine raumsemantische Auswertung ..... 125 2.4.1 Alienität und Alterität als Raumkonzepte ..... 125 2.4.2 Der Ausweg aus der Kriegsrhetorik: Clipton als ‹heterotope Figur› ..... 130 3 LAWRENCE OF ARABIA: Im Größenwahn der Grenznivellierung ..... 135 3.1 Räume und Grenzen in Lawrence of Arabia: Befunde einer Annäherung ..... 135 3.2 Die sujetlose Ebene ..... 139 3.2.1 «For ordinary men»: Das Raumkonzept der Alienität ..... 139 3.2.2 «I’m different»: Das Raumkonzept der Alterität ..... 144 3.2.3 Die Grenze der Textwelt ..... 152 3.3 Die sujethafte Ebene ..... 157 3.3.1 Die Ereigniskette: Von der alienen zur alteritären Ordnung ..... 157 3.3.1.1 Die Grenze ‹Arabien-Europa› ..... 157 3.3.1.2 Die Binnengrenzen Arabiens ..... 164 3.3.2 Die Störung der alteritären Ordnung: Re-Alienisierung und Grenzverfestigung ..... 173 3.3.3 An den Grenzen alteritärer ‹Bedeutung›: Apotheose, Größenwahn und Realitätsverlust ..... 180 3.3.4 «I thought it was true»: Grenzwiederherstellung im Metaereignis ..... 192 3.4 Lawrence of Arabia: Eine raumsemantische Auswertung ..... 204 3.4.1 Alienität und Alterität als Raumkonzepte ..... 204 3.4.2 Diplomatie und Politik als Zukunftsentwurf: Ali als ‹heterotope Figur› ..... 208 4 DR. ZHIVAGO: Grenzverschiebungen zwischen Ästhetik und Wirklichkeit ..... 213 4.1 Räume und Grenzen in Dr. Zhivago: Befunde einer Annäherung ..... 213 4.2 Die sujetlose Ebene ..... 216 4.2.1 «There’re two kinds of»: Das Raumkonzept der Alienität ..... 216 4.2.2 «From here she looks beautiful»: Das Raumkonzept der Alterität ..... 225 4.2.3 Die Grenze der Textwelt ..... 236 4.3 Die sujethafte Ebene ..... 241 4.3.1 Die Alterisierung der Textwelt: Die Räume ‹Moskau› und ‹Lazarett› als Verweisräume ..... 241 4.3.2 Alienisierung und Grenzverschiebung I: Der Ausbruch der Russischen Revolution ..... 247 4.3.3 Die Wiederherstellung der alteritären Ordnung ..... 251 4.3.3.1. Die Zugfahrt durch den Ural ..... 251 4.3.3.2. ‹Varykino› und ‹Yuryatino› als Verweisräume ..... 258 4.3.4 Alienisierung und Grenzverschiebung II: Jurijs Entführung an die Front ..... 265 4.3.5 Alterität als Kunstprodukt: Der ‹Eispalast› und seine Demontage ..... 275 4.4 Dr. Zhivago: Eine raumsemantische Auswertung ..... 283 4.4.1 Alienität und Alterität als Raumkonzepte ..... 283 4.4.2 Die ‹Erzählung› als Konstrukt: Yewgraf Zhivago als ‹heterotope Figur› ..... 288 5 A PASSAGE TO INDIA: Klaustrophobie zwischen Grenzverschiebung und Grenzverfestigung ..... 295 5.1 Räume und Grenzen in A Passage to India: Befunde einer Annäherung ..... 295 5.2 Die sujetlose Ebene ..... 298 5.2.1 «East is East» and West is West: Das Raumkonzept der Alienität ..... 298 5.2.2 «New horizons»: Das Raumkonzept der Alterität ..... 306 5.2.3 Die Grenze der Textwelt ..... 316 5.3 Die sujethafte Ebene ..... 320 5.3.1 Die erste Grenzverschiebung: Die Moscheeruine als alteritärer Transitraum ..... 320 5.3.2 Das Störpotenzial der Grenzverschiebung ..... 328 5.3.3 Die zweite Grenzverschiebung: Die Tempelruine als verstörender Transitraum ..... 333 5.3.4 Die dritte Grenzverschiebung: Alterität als Stör- und Trugbild ..... 347 5.3.4.1 Die Zugfahrt zu den Marabar Hills ..... 347 5.3.4.2 Die erste Höhlenbesichtigung ..... 352 5.3.4.3 Die zweite Höhlenbesichtigung ..... 360 5.3.5 «I withdraw everything»: Das Metaereignis und die ‹(Nicht-)Ordnung› der Textwelt ..... 367 5.4 A Passage to India: Eine raumsemantische Auswertung ..... 376 5.4.1 Alienität und Alterität als Raumkonzepte ..... 376 5.4.2 Kulturkontakt im Zwischenraum: Fielding als ‹heterotope Figur› ..... 380 6 Auswertung: Raumkonzepte bei David Lean ..... 387 6.1 Leans Filme: Konflikte zwischen Alienität und Alterität ..... 387 6.2 Leans ‹gestörte› Erzählungen ..... 391 6.3 Leans ‹heterotope Figuren› am Rande der Geschichte(n) ..... 393 6.4 Möglichkeiten einer Reformulierung der Strukturalen Erzähltheorie ..... 396 6.5 Leans Filme zwischen ‹Old Hollywood› und ‹New Hollywood› ..... 400 7 Medienverzeichnis ..... 405 7.1 Filme und Serien ..... 405 7.2 Forschungsliteratur ..... 406, Finanziert durch den Open-Access-Publikationsfonds 2022 der Westfälischen Wilhelms-Universität Münster (WWU Münster).

This article examines one of the symbolic components of the «objective world» of the novel about the writer – the image of the «book». It is noted that its use in the poetics of «Doctor Zhivago» is multifunctional. In addition to the characteristics of the artistic space, the «book» acts as a «finished object» that implements «universal and all-encompassing semantic segments» in the plot associated with cultural memory, the integrity of life and the world order. Special attention is paid to the content of the genre designation of «final book», which is applied to a number of «polymorphic» novels of the late 19th – 20th centuries and is considered in the context of «genre generalisations» in literature. The meaning of lexical components used within this genre designation is clarified. The occasional meaning «target», contained in the word «final», allows one to see in the intense self-reflection of the writer, which has a significant impact on the creative process, aspiration to cognise the «hidden essence» of things. The appeal to the goals inherent in the «ontological construction» of beings is defined in the philosophical tradition as «phenomenological reduction» (EGA Husserl), «transcending the spirit beyond its limits» (RM Garrigou-Lagrange). These processes are responsible for the retardation of the phase of the formation of the concept of the work – a phenomenon that has not yet been fully explained.

the article will focus on the history of the first publication of the novel “Doctor Zhivago” by Boris Pasternak, on its influence on the formation of opinion about Boris Pasternak as a truly major prose writer, as well as on the potential role in the further receipt of the Nobel Prize by the author in 1958. As one knows, the first publication took place in Italy. It is from Italian cultural figures Giangiacomo Feltrinelli (the first publisher of the novel) and Pietro Antonio Zveteremich (its translator) it depended on how the novel would be received abroad, where Boris Pasternak had not been well-known by the late 1957 – the Swedish Academy initially refused to nominate the writer as a Nobel laureate due to insufficient fame in wide literary circles. After the publication of “Doctor Zhivago”, it was essential to determine what the content of the first reviews of this work would be. The paper reviews the first reviews of the novel in the Italian press, in particular, the discussion that unfolded in the independent monthly magazine “Il Ponte”. Such well-known cultural figures in Italian literary circles as Guglielmo Petroni, Carlo Cassola, and Manlio Cancogni spoke out. Their opinions were not ignored, they were accepted by the general public.

The article attempts to compare the three female characters in the novel Doctor Zhivago to identify their role in the formation of the psychological image of the main character, as well as their main functions as characters in the plot structure of the novel. Distinguishing the terms “character” and “hero” as theoretical concepts, we seek to establish the complementarity of two methods: character analysis as a way of structuring the text, on the one hand, and phenomenological, which allows us to capture the uniqueness of a single hero, as well as its influence on the fate of other participants in the action. Taking into account the long-term work on Doctor Zhivago, the author of the article proceeds from the idea that along with autobiographical material in the characterization of three women – Tonya, Larisa, and Marina, B. Pasternak widely uses plot analogies with masterpieces of Russian and world literature, as well as certain allusions to biblical images. Important here is the principle of inseparability and non-confusion in the depiction of the fates of the three women in their relationship with the main character, associated with the Christian tradition. For the first time, the article introduces the essentiality– existentiality opposition to compare the main female figures. At the same time, it is important that the author, creating female images, uses a different measure of fabulousness associated with the vicissitudes in the life of the main character – the maximum in the relationship of Yuri and Lara and the minimum in relation to the hero with Marina. There is also a different degree of detail of the three images, the use of symbols in their characterization, and the symbolization as the main method of Marina’s characterization is noted. The author concludes that the outstanding Russian poet and novelist B. Pasternak shows a high degree of skill, penetrating the depths of female psychology. At the same time, while maintaining the principles of construction characteristic of the classical narrative, the writer, thanks to the special arrangement of the material, gives the novel features that bring it closer to the best examples of world literature of the twentieth century.

This article presents a linguopoetic analysis of Boris Pasternak’s poem "Wind" ("Veter") from the position of the lingual embodiment of the duality of mythological worlds. This research focuses on the symbol of "the wind as a spirit", upon which the poem’s whole mystical idea relies. The purpose of this article is to reveal which the linguistic means used to translate the duality of mythological worlds, as well as how this cognition merges with the author’s experience and determines the poem’s figurative system and idea. The understanding of the duality of mythological worlds requires the law of participation (L. L vy-Bruhl) – the identification of the mental, emotional, and physical properties of a person and nature. In Pasternak’s poem, the suffering and rushing "I" of the deceased lyrical hero becomes the wind. In this study, the word-symbol "wind" is studied in the semantic and semiotic aspect as a sign. Its signifier is the lexeme wind meaning 'perceptual idea of an air flow'; signified – the symbolic meaning of 'spirit, soul, immortality', due to the etymological meaning of the word and pagan mythology. The results reveal that the symbol "wind" is the carrier of the duality of mythological worlds, and it programs the fictional world of the poem: on the one hand, these are the actual world of the lyrical heroine, the house, and the wind, which swings pine trees; on the other hand – the imaginary world of the spirit of the dead lyrical hero. The lexical resources of the poetic text translate this opposition in the ratio of the words I and wind, personal pronouns I and you, as well as the words ended and alive. At the grammatical level, the duality is expressed by the contrast of the verbal forms of the past and present time, as well as by the passage from the indirect thought (the lyrical hero’s mental monologue) to the 3rd person narrative about the wind and the pine trees and by the return of the poem to the lyrical hero’s indirect thought at the end. This is how Pasternak implements one of the main ideas of his novel "Doctor Zhivago" – the idea of immortality, which is confirmed in the article by referring to the novel’s macro context and biographical materials.

In her interviews and essays, Ulitskaya has often alluded to the great effect that Pasternak’s poetry, and especially Doctor Zhivago, has had on her. In one of the episodes of her novel The Big Green Tent, she describes a first encounter with Pasternak’s novel; the teacher of literature who plays a decisive role in the lives of the main characters reads a manuscript copy of the novel and describes it as a worthy continuation of 19th-century Russian prose.The parallels between the novels The Big Green Tent and Doctor Zhivago have al- ready been the subject of scholarly attention but the connection between Jacob’s Ladder and the Pasternak novel has not been studied so far. In this study, I examine this connec- tion: on the one hand, at the level of macrostructures, the chronotope, the patterns of the heroes’ fates and the principal thematic elements, and on the other hand, at the level of cer- tain microstructures.The latter are linked to the present-day plot of Ulitskaya’s novel and, more specifi- cally, Nora’s life. Nora reads the correspondence and notes that her grandfather left for her as well as the KGB documents about Yakov Osetsky towards the end of her life (and the plot itself). As a result of this, she wishes to write the novel that her grandfather Yakov could not due to the historical situation.The process of Nora’s confrontation with the past and her becoming a writer are coded in Ulitskaya’s text by two of the poems of the Zhivago cycle Winter Night and August and also in the related episodes of Pasternak’s novel. All of these have biographical relevance and present creation as a fundamental element of life, which is closely linked to love and death as well as metaphysical experience. The symbolic parallel of this in Zhivago’s August is the transfiguration of Jesus and “the light without a flame” that blinds the disciples. This symbolism appears in Jacob’s Ladder on two levels: first, in the stage set that Nora creates for King Lear, and second, as a concomitant of her confrontation with the past and her becoming a writer.It is in this way that the fundamental elements of Pasternak’s life and poetry play a crucial role at the level of microstructures: they provide the context and symbolism of the central question of Ulitskaya’s novel, the nature of “the essence” of the human.

The article is addressed to the problem of typological characteristics of a number of novels distinguished by a long-term, large-scale conception and genre "proteism". Conventionally referred to as the "final books", these works represent an attempt to create a "universal text" of cultural memory. Such a text is intended to reveal the "totality of being", to answer the main questions of life. Through the prism of signs of the "final book", this article examines the novel "Doctor Zhivago" by Boris Pasternak. The main attention is focused on the study of the ontological aspect of the objective, material world of the work, in particular, household objects and interior components. In descriptive fragments, the frequency lexemes "thing" and "object" are highlighted, which act as a reduced description. Their "collective" semantics creates conditional, generalised images of material and ideal objects that realize the idea of contact between the existential (sacred) and the ordinary and the idea of restoring unity (integrity). The lexeme “thing” acts as an actualiser of meanings associated with the concept of a way of life, an order of things, harmonious to a greater or lesser extent. The lexeme “object” is most often marked by the state of “ontological uncomfortableness”, “alienation” of objects of the external world from a person, which arose as a result of the disintegration of “living” connections, the absence of “contact” and decline in general. The opposition “thing-object” implements in the narrative “ready-made / code” philosophical generalisations, which are differentiated depending on situations, and it expresses the assessment of reality given by the narrator, whose worldview in many cases is extremely close to the position of the protagonist.

The article deals with the image of the prominent Moscow lawyer Victor Komarovsky, one of the most negative characters in the novel by Boris Pasternak Doctor Zhivago. We study this character in the aspect of his professional activity, within the system of characters-lawyers and characters-doubles, in terms of the textual component. Being the character present throughout the novel, driving the plot, knowing all the subtleties of Russian legislation and entrepreneurship, Komarovsky is shown primarily in relations with Lara and Yuri, whose moral superiority is unbearable for him. Two motifs – the ‘enslavement of the girl’ and the rivalry with Zhivago, which permeate the entire narrative concerning Komarovsky, are framed by episodes where other characters of lawyers reveal dishonesty of the legal adviser.In creating the character of Komarovsky, Pasternak employs a whole range of techniques such as prospection, assimilation, aposiopesis, recognition, changing points of view, the principle of juxtaposition, speech portrait, reminiscences with the character of Fyodor Dostoevsky, and anthroponyms. All these techniques are intended to unmask Komarovsky as a person who uses the image of a human rights defender in achieving personal goals not only in relations with his principals and their relatives but also with colleagues; these devices expose the professional dishonesty of Komarovsky, who was inaccessible even to higher legal bodies. Another technique that contributes to deheroization of the character is a system of duality. It allows the writer not only to demonstrate the lawyer’s conformism, paucity of his interests, non-involvement in the fate of Russia but also to show activity of Kologrivov and Samdevyatov. Scrupulous work on the character of the lawyer exposes the methods he uses: without revealing himself in any transaction, he ruins a number of largest manufacturers, contributes to the death of their families, adapts in search for ways to wield power.

This article is an analysis of the chronotope in I.A. Bunins story Cold Autumn. From the point of view of the spatio-temporal organization, this text is built quite unusually: it is clearly divided into three parts, each of which has its own characteristic. Time in the story is presented non-linearly, it flows at different speeds - the description of one evening of characters is as detailed as possible and takes two-thirds of the story, and the rest of the heroines life is only one-third. In general, the story is built retrospectively and is focused on the memories of the heroine, therefore, many dates are given indirectly. The space in the story is based on the contrast between a detailed description of the estate and the locus of the house and an abstract enumeration of the heroines multiple movements abroad. This detailed description of the events taking place in Russia and the abstraction of space and time abroad may be related to the authors personal experience: Cold Autumn which was created in exile bears the imprint of Bunins longing and nostalgia for the lost Homeland. In this study, the spatio-temporal organization of the story Cold Autumn is fitted into the context of I.A. Bunins works and is also compared with the concept of the chronotope presented by B. Pasternak in the novel Doctor Zhivago.

The article analyzes the structure of B. Pasternak’s novel Doctor Zhivago as a ‘novel about a person’, the composition of the first book is deliberately studied on the level of the parts (seven parts) and chapters (123 chapters), which allows to picture the ‘idea of the whole’ novel more distinctly.

Culture of the 20 th century worked with the opinion of masses. In the Soviet Union, experiments with new forms and styles of art were directed by the state policy in order to spread ideology. After the catastrophe of the Second World War, European intellectuals exposed the way of thinking that inspires fascism. In the Soviet Union, where culture was still closely related to ideology, this critique was maintained by talented writers who turned to the themes of history and the fate of a personality, to the motive of the value of subjective thinking as opposed to mass thinking. Boris Pasternak created Doctor Zhivago between 1945 and 1955 and published it in Europe, despite the threat of persecution, which, unfortunately, came true. On the one hand, the novel is lyrical and full of symbols, on the other hand, it offers a peculiar analysis of the philosophy of history, responding to the ethical question of the time: how to live and act in the situation of impotence of an individual in the face of historical events? The evangelic motive is incomplete, since the life of the protagonist ends with fading rather than resurrection. Victory over death is revealed in Doctor Zhivago as victory over inevitability. The evangelic history is a special space where something “redundant” in relation to the world, something new and therefore changes per se are possible. Art is a natural channel of special “soulfulness,” of the pure closeness of souls that is free of destruction (which anticipates even the most superb forms) and therefore always the opposite of death.

The article discusses the problem of a literary method that was used by B.L. Pasternak in the novel Doctor Zhivago. The author examines the relation of this method with the ideas of symbolism and post-symbolism. In the novel, symbolist motives take new forms. Pasternak establishes a “live” connection between heroes and events, which symbolize “prime causes” of the taking place events and destinies. They belong to two worlds that are not separated from each other by borders between essential levels (from the lowest to the highest). The reality of life stops being a shadow of the highest reality, but the former is penetrated by the latter. Symbols do not indicate “prime causes” and “prime senses,” but become their “live” mediums. In space of the novel there is a “Candlemas” of the reality that shows itself through symbols and the reality of life, with all its secrets and solutions, happiness and grief, absurdity and clear sense. The literary method that make possible such Candlemas can be determined as “symbolist realism.” The Candlemas does not create harmony, it leaves all contradictions not resolved, all questions – without answer, expectation – without hope. His heroes symbolize the highest realities, and at the same time they live and die. It allows the reader simultaneously to be both the contemplator of game of the highest forces (as envisioned by symbolism) and the compassionate participant of vital tragedies of heroes of the novel (as in realism). B.L. Pasternak created a genre of novel-poem that by the means of poetic prose puts and solves deep philosophical problems of the philosophy of history and philosophical anthropology.

A unique feature of Pasternak’s reception and interpretation of Cohen’s philosophical ideas consists in the fact that the poet focused mainly on the conception of ethics posed by the head of the Ma...

This article discusses the evolution of the cultural-civilizational self-identification of Russia’s greatest twentieth-century poet, Boris Leonidovich Pasternak (1890–1960), the 1958 Nobel Prize la...

For many Western readers, the name of Boris Pasternak is associated exclusively with his novel, Doctor Zhivago, which he wrote in 1946-55. This masterpiece earned the writer international recogniti...

In this article, the author examines the work of Boris Pasternak, primarily his novel Doctor Zhivago, in the context of his Marburg experience and Kantian ideas as the basis of his moral-aesthetic ...

The article deals with the intertextual relationships of the novel «Doctor Zhivago» by B. Pasternak and the treatise «Fear and Trembling» by Søren-Kierkegaard. Pasternak mentioned Kierkegaard in his works and noted his great influence on modern culture. While Pasternak was working on the novel, he used the concept of chivalry, which was an allusion to Kierkegaard. In his treatise «the Knight of Faith» is a moral model that has overcome the fetters of rational thought and broken out of the temporary boundaries. S. Kierkegaard gives his description, which is directly related to the themes and motives associated with the image of Yuri Zhivago. Both Kierkegaard and Pasternak emphasize that the heroes of the high spirit merge with the human community, they cannot be distinguished from the general population with their private existences; the authors carefully contemplate the world around them, trying to penetrate into the very essence of each phenomenon, they differ in external carelessness with the utmost tension of the inner spiritual life. In their self-denial they renounce the most beloved, precious, valuable. Their love takes the form of religious veneration, and the beloved combines the temporal and the eternal, the earthly and the divine. They transfer the pain of double existence and the pain of loss into the realm of the spiritual, the creative, and the realm of memory. In the treatment of women's images in «Doctor Zhivago» Pasternak is equally focused on both Kierkegaard and Dostoevsky, between whom, in turn, there are many similarities. The common ground between the two texts proves the presence of purposeful inter-system interaction.

313Андрич и Пастернак: два романа о творчестве...Jasmina VojvodićUniversity of Zagreb (Zagreb, Croatia)Andrić and Pasternak: Two Novels about Creativity (the problems of winter's semantics)This paper compares the poetics of two novels: The Bridge on the Drinaby Ivo Andrić and Doctor Zhivago by Boris Pasternak. Both historical novels are “atypical” (chronicle / vita sacrum), and relate to time (linear time / overcoming of linear time; long period of time / moment) and space (Vishegrad / “throughout Russia”; statics / movement) diff erently. Both novels, however, narrate about an indestructible artistic creation that transcends all ideas of time, and about a work of art, made of stone (the bridge) or of language (poetry), which surpasses the present and creates a sense of being beyond time and in eternity. While winter and the cold in Andrić’s novel mark the end of the work on the bridge, in Pasternak’s novel winter presents a time of inspired creativity. The pa-per off ers an analysis of motifs of winter and the cold not only through climatological and geographical prisms, but also from the perspective of the game and the relationship between the warmth on the inside and the cold on the outside, through the prism of folklore and sacral elements.

The significance of the snowstorm image in B. Pasternak’s novel “Doctor Zhivago” is characterized. A comparative analysis of the positions of B. Pasternak and A. Blok in relation to the revolutionary events of 1917 and their reflection in “Doctor Zhivago” and in the poem “Twelve” is carried out. The image of Yuri Zhivago is investigated from the point of view of the type of cultural hero - the Ascetic. The characteristic is given to the image of Antipov - Strelnikov as a representative of the type of cultural hero - Conquistador.

The article discusses the features of the interpretation of the image of the protagonist of B. Pasternak’s novel “Doctor Zhivago” by Chinese literary critics. In particular, issues related to the presentation of the main character - Yuri Zhivago - as the son of God (the apostle of Christ), an “extra person” or holy fool. It is noted that Zhivago’s figure is perceived and evaluated ambiguously, as indicated by the presence of certain differences in the interpretation of Dr. Zhivago’s figure by Chinese researchers. Based on the analysis, the author argues that none of the areas considered by the researchers was an exhaustive explanation of the hero’s life and behavior, which indicates the complexity of the image, its ambiguity and versatility.

The article deals with the peculiarities of the interpretation of the artistic features of the novel by 1. Pasternak in the studies of Chinese literary scholars. It is stated based on the analysis conducted by the author that the narrative structure, artistic space, time and composition are the most important characteristics of the work. They ensure a perceptual unity of the artistic world. At the same time, these categories are inextricably linked, they define and reveal each other, create a complex system of relationships between characters, images, events, places, and artistic reality as a whole. We conclude that the complex narrative structure of B. Pasternak’s novel allows several levels of its reading. The connection of narratology phenomena is revealed: the event and the motive, and the internal intrigue of the whole narrative.

This paper analyzes problems involved in the Polish translation of proper names contained in Boris Pasternak’s novel Doctor Zhivago. Empirical material was collected from two Polish translations published in book form: by Jerzy Stempowski (Paris: Instytut Literacki 1959) and by Ewa Rojewska-Olejarczuk (Warsaw: PIW 1990). The study aimed to analyze translatorial equivalents taking into account the following criteria: consistency with the named object, informativeness of the name, and retaining the cultural ambience. The following research methods were applied: descriptive, com-parative analysis as well as functional and stylistic analysis. The comparative analysis focused on the adequacy of the applied translation methods.

Influence of classical music and composers like Scriabin is clearly visible in the syntax and phonology of Pasternak’s poetical language. His “composer’s ear” [cf. in De Mallac, 1981] – profound sense of rhythm, harmony, sound, but also silence – is traceable throughout literary language in his famous novel Doctor Zhivago, one of the greatest novels about the fall of the Imperial Russia, and the end of the monarchy in war and revolution ever written. This paper investigates some aspects of the relationship between art, violence, and revolution, i.e. between imaginary world of revolutionary and postrevolutionary (Soviet) Russia in Doctor Zhivago, and the ways in which the novel captivates those eventsthrough sounds of a crowd and city in turmoil, but even more importantly – through intense moments of silence. Departing from the premises that sounds and silence are physical states, but also aesthetic and cultural devices, the aim of this paper is to answer the following questions. What is the meaning of antithesis of sound and silence as a metaphor of “double” meaning in Pasternak’s Doctor Zhivago where silence indicates violence, war, and revolution as well as contains in itself the energy of creation, creative impulse? Especially in relation to “paradoxical materiality” [Miller, 2007] of silence, where this state of complete muteness and stillness represents simultaneously emptiness – but also plentitude, weightlessness – but also heaviness, the paper analyzes the symbolism of silence in Pasternak’s novel. Is Pasternak’s profound uses of silence signifier of an amputation of Doctor Zhivago’s protagonists from the world of violent revolutionary Russia into their own, private, intimate worlds of introspection, or it is rather a signifier of their resistance against popular representation of revolution as universal political and cultural project of emancipation and freedom for all? In other words, can Pasternak’s “rhetoric of silence” in Doctor Zhivago be understood as a state of plentitude and knowing (S. Sontag), i.e. as a method of radical speech of silenced and whispering protagonists rather than of their muteness as aconsequence of their (bourgeois) laid-backness and passivity?

Today it’s hard to imagine a time when a book, an epic Russian novel, could become an artifact in America’s clandestine propaganda campaign against the Soviet Union. The book was Doctor Zhivago, th...

Ovaj rad proučava međunarodnu političku aferu izazvanu objavom romana Doktor Živago. Roman je djelo Borisa Pasternaka, a njegova objava nije bila dopuštena u Sovjetskom Savezu, kao ni u inozemstvu. Pasternak se oglušio na upute Partije te je roman prvi put objavljen u Italiji. Temeljna pretpostavka istraživanja sugerira da je CIA imala ključnu ulogu u objavi romana, a cilj je istraživanje kanala utjecaja CIA-e, kao i KGB-a te otkrivanje važnosti djela iz zapadne perspektive te spornosti iz istočne. Istraživanje je djelomično potvrdilo osnovnu pretpostavku da je CIA ključni akter u objavi romana, jer se ispostavilo da su za prvu objavu romana u Italiji zaslužni isključivo Pasternak i talijanski izdavač, dok je CIA imala ključnu ulogu prilikom pripreme prvog ruskog izdanja, predstavljenog na sajmu u Bruxellesu. Roman je i na Zapadu i na Istoku predstavljen kao antisovjetski, čime je relativizirana njegova umjetnička vrijednost, a kroz analizu postupaka SAD-a i SSSR-a se dolazi do zaključka kako su dva suprotstavljena režima u biti znatno sličnija nego što to uobičajena hladnoratovska propaganda priznaje., This master thesis studies the international political scandal caused by the publication of the novel Doctor Zhivago. The novel is written by Boris Pasternak and its publication was forbidden in The Soviet Union, as well as abroad. Despite direct instructions from The Communist Party, Pasternak decided to pursue his goal and published his novel in Italy. The main hypothesis of this research suggests that the CIA had a key role regarding the publication of the novel, and the main objective is to investigate the CIA's spheres of influence, as well as KGB's. Thus, the thesis shows the importance and controversy behind the book. This research had partially confirmed the main hypothesis because it turned out that, for the first publication, all credits go to Pasternak and Italian publisher, while the CIA had a major role preparing the first Russian edition of the novel, presented at the Bruxelles fair. Doctor Zhivago was considered anti-soviet by both conflicting poles, which trivialized the artistic value of the book. By the analysis of the actions of the USA and the USSR, the thesis concludes that the two conflicting regimes are, in fact, more similar than the usual cold-war propaganda acknowledges.

Roman Borisa Leonidoviča Pasternaka Doktor Živago, silom političkih prilika izdan u Milanu 1958. godine, s razlogom se smatra jednim od najvećih djela ruske književnosti. Ovo djelo govori o životu doktora Jurija Andrejeviča Živaga te se odvija diljem tadašnje Carske, revolucionarne i naposlijetku Sovjetske Rusije u jednom od najtežih i najburnijih razdoblja ruskoga naroda. Pasternakov autorski stil podrazumijeva poetičnost koja se često ističe kroz uporabu simbola i stilske figure dvojnosti. Ovaj rad analizira Pasternakovo korištenje prostora u romanu Doktor Živago kao simbola revolucionarnih zbivanja. Oslanjajući se na ulogu kontrasta kao što su duhovno – zemaljsko, grad – selo, nebo – zemlja, kršćansko – poganski, Pasternak na krajnje poetski način oslikava prikaz relativno običnog života. Glavni junak romana, Živago, ne igra nikakvu ključnu ulogu u povijesnim događajima koji ga okružuju već postaje žrtva okolnosti, što Pasternak prikazuje ne samo veličanstvenom pričom, već i korištenjem brojnih simbola u prikazu prostora u kojima se likovi kreću. Razmatrajući prostor, dvije najznačajnije uloge u romanu igraju grad i selo. Moskvu Pasternak autobiografski koristi kao okosnicu Živagova života, oslikavajući ju iznimno detaljno kao središte svega intelektualnog, urbanog i revolucionarnog. S druge strane, selo Živagu pruža duhovnu spoznaju te služi kao mjesto gdje otkriva samog sebe kao i Boga. Ovom analizom prostora u romanu dobiva se uvid u osobna stajališta Borisa Pasternaka ne samo o političkim zbivanjima u Rusiji dvadesetog stoljeća, već i o srži i dvojnosti svakog individualnog čovjeka. Boris Pasternak's novel Doctor Zhivago, published due to the political circumstances of the time in Milano in 1958, is considered one of the masterpieces of Russian literature for a reason. This work spanning eras of Imperial, revolutionary and Soviet Russia talks about the life of Doctor Yuri Andreevich Zhivago and is set in different locations across Russia's vast territory during one of the hardest and most tumultuous periods of its history. Pasternak’s signature style is based on poetic descriptions as well as the use of symbols and duality. This thesis aims to analyze Pasternak’s use of space in Doctor Zhivago as a symbol of revolutionary happenings. By relying on the role of contrasts such as spiritual-earthly, city-country, sky-earth and Christian-Pagan Pasternak paints a picture of a relatively ordinary life in a very poetic manner. The protagonist does not have a key role in the historic events which surround him. Instead he becomes a victim of circumstance, which Pasternak shows not just through the awe-inspiring story, but also with his use of numerous symbols in his depictions of space the characters inhabit. When considering spaces, the two most significant roles in the novel are played by the city and the country. Moscow is used autobiographically by Pasternak as a focal point in Zhivago’s life. It is depicted in great detail by the author as the center of everything intellectual, urban and revolutionary. On the other hand, the country offers Zhivago a spiritual breakthrough and serves as a place where he finds himself, as well as God. This analysis of depictions of space in Doctor Zhivago offers an insight into the personal opinions of Boris Pasternak on 20th century Russia as well as his musings on the core and duality of each individual.