Related Papers
Russian Review
Blizhe k suti, k miru Bloka": The Mise-en-Scene of Boris Pasternak's "Hamlet" and Pasternak's Blokian-Christological Ideal
2005 •
Timothy Sergay
Abstract Boris Pasternak's "Christmas Myth": Fedorov, Berdiaev, Dickens, Blok
Timothy Sergay
The Slavic and East European Journal
Creating Creation: Readings of Pasternak's Doktor Zivago
2002 •
Susanna Witt
PASTERNAK IN REVOLUTION: LYRIC TEMPORALITY AND THE INTIMIZATION OF HISTORY Slavic and East European Journal. 2016. Vol. 60. No. 3. P. 512-534.
Константин Поливанов, Kevin M. F. Platt
Отношения человека и явлений истории всегда оказывались в фокусе внимания Пастернака-художника: и в ранней лирике, и в «революционных» поэмах 1920-х, и в романе «Доктор Живаго», который он считал главным делом своей жизни. Пастернака всегда волновали вопросы о том, что и как способен лирический поэт сказать об истории. Цикл «Болезнь» в книге «Темы и вариации» (1923) был одной из первых попыток ответить на эти вопросы. В частности, это относится к третьему стихотворению цикла — «Может статься так, может иначе», одному из самых темных и загадочных стихотворений поэта. На наш взгляд, оно играет ключевую роль для понимания данного цикла и одновременно представляет одну из первых попыток понимания поэтом истории с помощью лирического высказывания. В статье предлагаются контекстуализация и анализ данного стихотворения, цикла «Болезнь» в целом и, посредством этого, парадоксальной способности лирической речи служить инструментом для постижения исторического опыта. Стихотворение анализируется с помощью выделения сложной системы перекличек с разнообразными текстами от Лермонтова, Тютчева до Диккенса, на фоне биографии поэта и с учетом недавних исследований лирической и авангардной темпоральности в культуре начала ХХ века. Стихотворение «Может статься так, может иначе...» интерпретируется как демонстрация сложных связей, скрепляющих русскую жизнь и культуру в тот момент, когда, в представлении Пастернака, все законы истории были поставлены вверх ногами «пургой» революции.
Boris Pasternak’s Doctor Zhivago in the Eyes of the Israeli Writers and Intellectuals (A Minimal Foundation of Multilingual Jewish Philology)
Roman Katsman
Sibirskij filologičeskij forum
The Sound of Silence in Boris Pasternak's "Doctor Zhivago"
2019 •
Danijela Lugarić Vukas
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 postrevo-lutionary (Soviet) Russia in Doctor Zhivago, and the ways in which the novel captivates those events through 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 a consequence of their (bourgeois) laid-backness and passivity?
Russian Literature
How Does Art Think? Boris Pasternak's (Post-)Philosophical Poetry
2015 •
Ioulia Podoroga
The Lyrical Subject as a Poet in the Works of M. Cvetaeva, B. Pasternak, and R. M. Rilke
Alessandro Achilli
Rethinking the Canon: Nonconformist Soviet Classics in Post-Soviet Perspective
2012 •
Alexander Zholkovsky
Studia Metrica et Poetica
Vyacheslav V. Ivanov (1929–2017) and his Studies in Prosody and Poetics
2018 •
Ronald Vroon
Vyacheslav V. Ivanov was an outstanding scholar who excelled in almost all disciplines related to linguistic and literary studies. This article analyses his accomplishments in the fields of prosody and poetics.
