victory", " after such generosity, the historical elements turned to cruelty and wisdom of the dullest and darkest pre war years. " (232, 97).
The writer is "no longer able" "only to put up with the administrative painting of the destined", considering it necessary " beyond submission. to do something expensive and personal, and to a more risky degree than it used to be, to try to go out in public" (187, 221).
The novel "Doctor Zhivago" became an expression of B. Pasternak's extreme opposition to the state system, which leads to the complete depersonalization, averaging of a person.
As rightly said I. Kondakov, the novel of Boris Pasternak "opposed ideology, psychology, and politics of totalitarianism solely as works of art (and not as a journalistic essay, a philosophical treatise, political doctrine, albeit dressed in clothes fictional)", "as art for non art aesthetic - unaesthetically, as the work of an artist trying to survive in the struggle with the circumstances precluding art, artistry, recognizing the only "nuts and bolts" tasks" (210, 529).
Roman argued, deeply humane view of the identity based on the idea of exceptional intrinsic value of human wealth and the unique originality of his inner world.
This is the initial position of the author, the disclosure of which is carried out in the artistic whole of the work.
This is the essence of the lyrical concept of personality specific to the XX century.
In the history of Russian literature of the last century,the novels "Three Years"(1895) and "My Life"(1896) by A. P. Chekhov, "The Life of Arsenyev" by I. A. Bunin (1938) were considered as lyrical.
Their uniqueness is explained by the special, rarely encountered quality of the artistic talent of their creators.
It allows you to create an epic work with such an increased poetic density, which is equal to the poetic density of the verse.
"The definitions of concentrated depiction and penetrating emotionality, which usually appear only at certain points throughout the vast length of the novel, here move in front of us in a continuous sequence, "V. Dneprov wrote about I. A. Bunin's novel"The Life of Arsenyev".
- This definition does not come immediately to even a great artist, they have to bear and save the days, months, years" (32, 526).
A lyrical novel by V. Dneprov, "it may be only as the fruit of a long life of the artist, as a result of huge work on finding and collecting accurate take of reality" (32, 526).
The novel "Doctor Zhivago" tends to be lyrical 27.
It was created at a late stage of creativity, and for this, according to the definition of the contemporary writer D. Spassky, B. Pasternak "needed everything. poetic arsenal".
The purpose of this study is to identify the artistic originality of the novel "Doctor Zhivago" through the prism of the author's problems, since the position of the author in the work represents "a certain organic center, which can simultaneously consider and how [product - approx. E. B.] the core of his heart" (76, 15).
The goal defines the objectives of the study - the study of subjective and unsubjected forms of expression of author's consciousness in the novel.
The solution of the tasks is carried out based on the methodological principles of literary criticism, theoretical provisions on the problems of the novel genre, developed in the works of M. Bakhtin, L. Ginzburg, M. Girshman, V. Dneprov, D. Zatonsky, B. Korman, N. Rymar, V. Skobelev and others, which formed the theoretical and methodological basis of the research.
The structure of the dissertation is subordinated to the specified goals and objectives.
The first chapter is a historical and theoretical excursion into the field of Russian lyrical prose - one of the significant, but little studied phenomena of literature of the XX century.
The novel "Doctor Zhivago" is thus considered in its broad context.
The further course of the research is carried out on the basis of a combination of theoretical positions and a concrete analysis of the poetics and philosophy of the novel.
The second chapter is devoted to the analysis of the subjective forms of expression of the author's consciousness - the images of the author, the narrator and the lyrical hero.
The third chapter reveals the features of the plot and compositional organization of the work: the originality of the beginning, the beginning and denouement of the novel action, the specifics of the extra fictional parts of the novel (the epilogue and the notebook of Yuri Zhivago's poems).
In conclusion, the results of the study are summarized and promising directions for further study of the novel are outlined.
The bibliographic list attached to the dissertation includes 413 28 titles of research devoted to general theoretical problems, the study of the poetic and prose heritage of B. Pasternak, as well as biographical studies and memoirs about the writer.
The pronounced autobiography of lyrical prose caused the need to carefully study the facts of B. Pasternak's personal and creative biography.
This material, called "The Chronicle of the life and work of B. Pasternak", is placed in the appendix to the dissertation.
The practical significance of the dissertation lies in the fact that the developed material can be used in general courses on the history of Russian literature of the XX century, in the preparation of special courses and special seminars on the work of B. Pasternak in the practice of university and school teaching of literature.
The appendix to the dissertation ("Chronicle of the life and work of B. Pasternak") is a kind of compendium, systematically and quite fully covering the events of the writer's personal life and creative activity.
These materials will provide practical assistance to school wordsmiths and philology students.
Conclusion of the scientific workdissertation on the topic "The author and the hero in the novel by Boris Pasternak "Doctor Zhivago""
CONCLUSION The literature of the XX century is distinguished by a pronounced attraction to synthetic, hybrid forms of reflection of reality.
They arise as a result of the erasure, "blurring" of clear boundaries not only at the secondary level between genres, but, more importantly, between genera, that is, at the primary level.
The activation of this process leads to the enrichment of literature with borderline, two gendered genre formations, which are characterized by a special flexibility of form and an extraordinary content capacity and, therefore, are able to adequately capture the full breadth and diversity of cultural thinking of the epoch.
This kind of phenomenon is lyrical and lyricized prose, which has a two gendered, lyric epic nature.
In the dynamic interaction of the lyrical and the epic, which forms the generic basis of lyrical prose, the priority belongs to the lyrics.
The lyrical principle does not act as a trend concerning certain aspects of the narrative, but as a law that organizes the artistic whole.
The epic is crowded with lyrics, but it is not completely absorbed by it.
Moreover, being saturated with lyrical content, the epic in the new conditions reveals its deep, hidden semantic potential.
The dominance of the lyrical principle radically changes the nature of the reproduction of reality.
Objectivity, distancing from the world are replaced by the element of feelings, close contact.
Hence, the main feature of the lyrical narrative is the reproduction of the worldview, and not the worldview.
Therefore, the events of the external world are presented not so much in a detailed description, but through the prism of thoughts and feelings about them.
Their external insignificance and prosaic character are an expression of a simple but deeply human truth of existence.
The poetic image is created through the ordinary, even the banal, and in spite of it.
The artlessness and simplicity of the speech structure of lyrical prose enhances the sense of authenticity of spiritual confessions and at the same time acts as a sign of deep poetry.
Lyrical prose is aimed primarily at the full and all encompassing disclosure of the inner world of the hero, which is achieved by a special selection and arrangement of the material - its "lyrical division".
The subjective position of the protagonist is the "highest instance of moral truth", the moral center of the work and is outside the object evaluative sphere.
The author's consciousness is equated with the "sovereign consciousness" of the lyrical subject, who acts as the author's alter ego.
The appearance of lyrical prose is due to the reasons of the intra literary order and the general laws of time.
On the one hand, Russian lyrical prose appears as a kind of reaction to rationalism, didacticism and schematism, that is, anti artistic tendencies that prevailed in the literature of the 40s early 50s.
On the other hand, the formation of lyrical prose, its small and large genres, reflects the urgent need to affirm humane values.
The XX century is characterized by an unprecedented increase in world contradictions.
The profound social thinker Pitirim Sorokin called the twentieth century "the bloodiest and most senseless", pointing to the" impoverishment and awakening of the beast "in man as the worst of the social and moral consequences of" imminent wars "and" bloody revolutions " (Cit. po: 242, 56).
The state of general disharmony of life actualizes, puts in a particularly acute form the whole complex of traditional problems associated with the existence of a person in society, nature, the world as a whole.
Literature, responding to the demands of time, goes to new ways of solving them.
The lyrical concept of personality, specific for the XX century, which forms the basis of lyrical prose, reveals the exceptional value, richness and unique originality of the inner world of a person.
Love for man and the world is, as in the lyrics, the initial and defining principle of the lyrics coy prose, its "constantly solved problem".
"Talk .
about a feeling, it means to nourish it, a whole range of feelings only grows by mention or expression.
That's why love or some kind of it is so declamatory, " wrote B. Pasternak (371, 195).
Thus, lyrical prose has a great power of influence.
Its "increased suggestiveness" ("the deployment of a semantic link in an unexpected semantic chain, and the omission of logical links, the suggestion of unnamed ideas to the reader" (406, 343)), is aimed at the fact that ".man, having read and understood, will be unable to actions that are contrary to his human nature" (268, 8).
The lyrical prose, involving, in contrast to the traditional epic storytelling, closer, closer contact with the world, transforms a critical attitude to reality, or rather the opposition, in the artist's desire to find a way to unite with the world.
The basis for solving these complex tasks becomes for the writer his own inner world, accumulated spiritual experience.
Comprehension of the contradictions of real reality occurs through self reflection, attempts to understand oneself in time.
The artist's life experience, being transformed into an artistic image, gives him a special persuasiveness, reliability and influence.
It is no accident that lyrical prose appears in the environment of autobiographical literature.
The artistic features of lyrical prose are expressively revealed in a large genre form - a lyrical novel.
"Doctor Zhivago", completed during the period of active formation of lyrical prose - in the 50s, has a very specific generic nature.
The epic and the lyrical appear in it in a complex unity.
However, the lyrical principle, acting as a force that reveals the highest value of the inner world of a unique, autonomous personality, is extremely active.
It comes to the surface of the narrative and clearly takes possession of it in the second book of the work, trying to turn the novel into a lyrical novel, forming structures within epic structures that are characteristic of a lyrical novel.
Due to historical circumstances that removed the novel from the literary process, "Doctor Zhivago" was for a long time out of the sphere of attention of Russian criticism as a whole.
And in particular, the novel "fell out" of the process of active comprehension of the essence and originality of lyrical prose, which took place in the middle of the XX century.
Roman B.Pasternak is distinguished by a special scale of coverage of the cardinal problems of human existence, the fundamental issues of existence that have become aggravated in the crisis era, at the fractures of history, and the nature of their understanding.
Numerous and diverse studies devoted to "Doctor Zhivago" in foreign and Russian criticism and literary criticism, testifies to the special quality of the artistic image created by B.Parsnips.
Its essence lies in " a certain flexibility. in the power of the inner form", which is able to "excite the most diverse content" (Cit. po: 99, 111).
In this regard, the definition given by Fr.Freudenberg, who called the work "the book of Genesis", looks extremely accurate, thus emphasizing that its creator managed to "embrace the immensity", achieved amazing inclusiveness in the image of reality.
In this statement, the other side is also important.
The novel "Doctor Zhivago" asserts the eternity and indestructibility of life even in the most fatal, disastrous epochs.
Within the framework of this study, such aspects of the poetics of the novel "Doctor Zhivago" as subject and non subject forms of expression of the author's consciousness were considered.
The author's position is "a kind of observation point, from where, to use the expression of N. V. Gogol, apparently to all ends of the world" (76, 15).
Therefore, the study of the author's problem is the primary basis for answering the question of the artistic integrity and artistic originality of the work.
The study of the poetics of "Doctor Zhivago" shows that in the dialectical unity of the epic and lyrical approaches to reality, which underlies the narrative structure of the novel, the lyrical principle tends to a dominant role, which significantly changes the relationship between the author and the hero in the work.
In the novel, we are dealing with two subjects of consciousness that express the author's position with a greater degree of adequacy - this is the traditional epic narrator and the lyrical hero.
The desire for epic breadth, orderliness and calmness makes the position of non necessity in relation to the depicted reality relevant for the author.
The incompleteness, the limitation of objective knowledge, in turn, is overcome by close contact with the world into which the author enters.
To gain a comprehensive, full fledged idea of reality, the author plunges into the consciousness of the hero, endowed with a poetic attitude.
The harmonious integrity of his inner world becomes a support in the creative search for truth.
The fusion of the author and the hero acts as the main genre forming factor in the lyrical novel.
Paintings of half a century of everyday life", recreated in "Doctor Zhivago", are thematically divided into "peaceful" and "military".
B. Pasternak brings together two epochs in the work that are strikingly different from each other The narrator (the epic hypostasis of the conceptualized author) is the leading subject of consciousness in the first parts of the novel, where the image of the pre - war time is recreated one of the main stages in the formation of the personality of the lyrical hero.
The degree of correspondence between the minds of the author and the narrator is extremely high.
The distance, the lack of identity between them are revealed only in the relatively few fragments in these parts of the narrative that reveal the consciousness of the lyrical hero.
But it is in them that a certain incompleteness of objective knowledge about the world, the knowledge that the narrator possesses, becomes obvious.
The narrator's position in these fragments loses its dominant character in relation to the hero and turns into "co presence".
The chain of these fragments is a kind of prologue to the priority position of the lyrical hero in the subsequent parts of the narrative.
Moreover, at the culminating points in the course of the further development of the plot (in diary entries, which are a sample of lyrical prose, in monologues), the lyrical hero is released from the" co presence " of the narrator.
Zhivago's subjective point of view becomes the only one.
The author's system of views is revealed by the chosen angle of view on reality and the dual, lyrical, epic form of presentation of thought.
The peaceful time of the beginning of the century with its stable, adjusted life appears in the guise of everyday life, everyday life, which are in a state of latent metamorphosis, in the" little things " of everyday life, which, in the author's understanding, carry a high, existential meaning.
The evolutionary, progressive movement of human destinies along a given channel reflects the interminability of the life thread that stretches from the depths of the past to the vastness of the future.
The heroes fit into the existing way of life, into the system of moral values developed over the centuries, into the reality of being, accepting this world as a gift from previous generations.
One of the leading ideas in the novel about the connectedness of human existence is expressed openly - in the form of a lyrical digression, and indirectly through the building of close "communicative rows".
The poetic attitude of the author is expressed in the images of "inconspicuous" (contemplation of a rural landscape) and open (musical evening, Christmas, wedding) festive events that capture the triumph of universal harmony.
In their depiction, the epic extensiveness of descriptions is combined with lyrical understatement.
Focusing on a significant event, the author does not describe it in full, but focuses on its presentiment or "afterword".
An epically detailed, detailed reproduction of material objects (for example, a festive table) serves as a visible, visible equivalent of the beautiful, located in the sphere of the ideal, that remains in the novel in the form of the"unspeakable".
However, already in these parts of the narrative, a number of signs indicate the activity of the lyrical beginning.
Firstly, this is evidenced by the metaphorical, "cursive" (B. Pasternak) form of depicting the social structure of the pre war period.
Large layers of epic material are represented by the metaphorical image of the house, its spatial characteristics.
In an extremely compressed, compressed form, messages are given, brief information about the prehistory of the life of the heroes.
The epic material is compacted, crowded with an excess of the lyrical and in its context acquires a new quality.
Its significantly reduced volume evokes the feeling of a vast whole that exists undeveloped and thus contains a potential multiplicity.
Secondly, the image of the characters close to the author is characterized by an increased level of conditionality.
As carriers of spiritual experience, they do not have a specific visual appearance and are revealed in the ideal sphere - through their thoughts.
The lack of specificity of their appearance makes them multi faceted, which in turn reflects their inner versatility.
On the contrary, the secondary characters are depicted epically in relief, as carriers of the typical, what is alien and hostile to the author as the embodiment of human narrowness, gregariousness, stagnation and conformism.
Thirdly, the system of the author's historiosophical views is revealed in the form of monologues of "autogenous" heroes or dialogues that tend to monologue speech.
The author is interested in the idea of "living", not separated from the feeling and, therefore, not distorted.
The utterances of the heroes are the culminating points of the creative processes that take place in their lives ears.
The events of their personal, inner world, embodied in a verbal, material shell, become facts of the external, general world.
Therefore, the monologue form is so important, reflecting the integrity and depth of the judgment.
Making a speech is equated with a serious, significant act, which is prepared by a combination of internal, human and external, life circumstances.
This action serves the general harmonization of the world, adjusts reality to the higher principle, which is present in the responsibly pronounced word.
The stability and integrity of pre war life acted as a kind of guarantee of the priority role of the narrator, his omniscience and omniscience.
The lyrical hero becomes the leading subject of consciousness in those parts of the narrative in which the military events of the first half of the XX century are recreated.
Thus, the center of the narrative shifts to the inner world of the lyrical hero, which is a repository of spiritual values that have not been destroyed under the influence of the destructive trends of time.
The image of reality through the prism of consciousness of an internally integral, not alienated from itself personality and, thus, overcoming decay and chaos is the essence of the lyrical concept of the world and man, which is the basis of the novel.
The destroyed world comes together, is harmonized by the inner world of the hero, is restored on the basis of eternal, universal values, the main of which is love.
The comprehension of this catastrophic period, marked by the seal of the violent destruction and destruction of the former way of life, is carried out in a lyric and philosophical system based on a deeply humane idea of the triumph of life and faith in the immortality of man.
The consequence of the life affirming philosophy is the idea of the naturalness and regularity of the unity of a person (part) with the world (whole).
Therefore, B. Pasternak considers the set of circumstances under which a person is alienated from the world as an imaginary reality, an untrue state of things, which therefore cannot be the main subject of the image.
This is most expressively realized in episodes describing the brutal essence of wartime.
Self denial of military reality is the first semantic layer of the depicted.
The main content of these fragments, hidden in the subtext, is the image of a peaceful existence that lives in the soul of the lyrical hero.
Zhivago contemplates it in his memory, actualizes it with the power of poetic imagination and transfers it to the context of the current moment.
The disfigured, monstrous reality of wartime, passed through the poet's soul, loses its unambiguity and opens into the infinity of the eternal, asserting the indestructible beauty and integrity of being.
The author is driven by the desire to gain the fullness and integrity of knowledge about life, to comprehend its true content hidden under the cover of rough reality, to return to reality, which has turned into a" scolded fairy tale " (B. Pasternak), the halo of a miracle, a poetic mystery and thereby get closer, reunite with the world, which has acquired alien features, has become unfamiliar.
According to B. Pasternak, a thing that is directly revealed to consciousness in the act of contemplation clearly reveals its essence, and, consequently, the experience of such perception fixed in the word becomes universal.
Thus, the novel "Doctor Zhivago" not only captures the idea of a felt being, but literally "contains" it, contributing to the destruction of "an impenetrable glass wall, a whole system of mirrors", which gave rise to a person's alienation from the surrounding world, and restoring the connection with life lost by modern man (Cit. po: 102,36).
The main character of the novel, Yuri Zhivago, whose consciousness is the "moral center" of the narrative, is an intellectual, a person of a poetic disposition, a person who is internally free and endowed with the gift of a deeply original, individual vision of the world.
A special quality of poetic perception of reality lies in the fact that in the ordinary, ordinary, insignificant, outwardly unremarkable, the hero reads the essential, existential meaning.
A reflection of this is the hero's desire for a private, "private", unremarkable existence.
He was given a "through through sense of being", his integrity and multidimensionality, indissoluble unity, harmony of high, ideal and earthly, material principles were revealed.
By the power of an intuitive feeling, Zhivago captures the general pulsation of life, which constantly transforms, changes everything in the world.
Creative inspiration, which is filled with being, fascinates Zhivago, fascinates with the mystery of the action that is happening, turns him into an admiring contemplator.
The military reality puts Yuri Zhivago in conditions that contradict his inner essence.
The hero goes through two rounds of military trials: the First World War, which ended with the February Revolution of 1917, the October Revolution of 1917, which turned into a merciless civil war.
These two cycles have a common plot scheme: separation from home - "untrue existence" in internally alien, military conditions - mental crisis (illness) - recovery rebirth - intense saturation with new impressions - creativity.
Zhivago perceives the First World War as a terrible destructive force, destroying primarily the physical world.
The civil war appears as a mass psychosis, an obsession of people who have lost their idea of humanity and who are involved in a monstrous process of mutual destruction.
Revolutionary transformations turn out to be a matter of pure politics, the result of the struggle of people striving for power.
However, once caught in the cycle of violence, Zhivago is not alienated from himself, is not exhausted internally.
Each round of his spiritual development is marked not by the acquisition of a new ideal, but by an unchanging strengthening in the former, original one.
The hero progressively comprehends his deep essence.
Therefore, the path of Zhivago's inner search is a steady ascent, and not a set of losses and discoveries.
Inherited wisdom, tested by personal experience, is translated into its own, individual truth, necessity and life goal.
The transformed ideal, becoming a source of inexhaustible inner strength of the hero, makes his creative activity directed outward into the surrounding world more intense and fruitful.
Within the framework of real action, the active self deepening of the Zhivago, its movement towards the "absolute" appears as a gradual, increasingly increasing alienation from society.
The voluntary recluse of the hero acts as a result of the completed process of" individuation", as the acquisition of selfhood through the synthesis of the contents of superindividual being in an individual form.
A person who has discovered the whole world in his spiritual depth is endowed with selfhood.
Therefore, the isolation of the lyrical hero from social reality does not narrow the epic perspective, but modifies it, transferring it from the sphere of earthly reality to the sphere of the ideal, spiritual - into all existence.
The character of the transformation of the personality of the lyrical hero explains the revival of the narrator's priority in the final part.
The objectivity of the narrative in the denouement of the novel's action acts as the equivalent of lyrical understatement, understatement.
The spiritual life of the hero is revealed as a mystery about which it is impossible to express a direct judgment, its meaning lies in the "unspeakable", is read between words, is deduced by the course of the development of the novel plot.
The objectified description conveys not the essence of the inner, deeply hidden genuine content, elusive and indefinite, but its external signs.
However, objectivity in the denouement also acquires a different quality, which is born of the merging, unity of the minds of the narrator and the lyrical hero - objectivity becomes "lyrical".
The plot and compositional organization of the lyrical novel has a number of specific features.
The narrative structure in "Doctor Zhivago" is a duality of lyrical and epic storylines.
The peculiarity of the lyrical novel's architectonics is the result of their complex interaction.
The epic line is the core of the narrative and sets the chronologically consistent development of the action.
The reduction of the plot outline, which is the basis of the epic plot, is made up for by the richness, excess of extra plot material, which forms the lyrical plot line of the novel.
It reveals the author's worldview.
The specifics of the plot in "Doctor Zhivago" are clearly expressed in the plot of the novel action.
The epic storyline opens with a system of ties connected with the fates of various heroes.
The multiplicity of strings models the external similarity of the structure of the traditional centrifugal epic narrative.
But, more importantly, the polycentric nature of the tie contributes to the simultaneous recreation in the artistic image of " all " life at once, which is characteristic of the lyrics.
And, finally, the system of epic ties in the lyrical storyline acts as a single whole, as a lyrical tie, characterized by a special length.
It reveals the image of an early life stage (childhood, adolescence, youth), which, according to B. Pasternak, sets the further direction of a person's fate.
"Childhood and especially adolescence are more grandiose than the rest of life" (136, 471).
The beginning of the lyrical storyline reveals the source of poetic thinking, and the process of its subsequent formation is the content of the lyrical plot as a whole.
In the beginning of the novel, the significance of the non obvious connection of the fates of the characters is revealed.
It is revealed at the lyrical level - in the system of motives (the motive of orphanhood, closeness to nature, grace, faith in the divine principle).
The spiritual closeness, kinship of the characters is determined by the degree of their hidden interconnectedness.
Thus, in the narrative, the emphasis is initially shifted from a specific, visible connection between the characters to a providential one.
The action of this higher force that unites their lives is realized in the plot in the form of events, situations that are clearly random, unexpected in nature.
Their increased concentration recreates in the novel the image of real reality as a single," continuous " stream of accidents.
Small and large plot "crosses" represent concrete manifestations of the universal rhythm, the general harmony of the world.
The invariant of the random principle at the level of micropoetics is the motive of the unexpected, the sudden.
Destroying the state of habituation, inertia as lifeless, unnatural, this motif strengthens a special, creative rhythm in the development of the plot.
The unexpected, the sudden in the poetics of B.Pasternak acts as an integral property of all aspects of life - individual, social, natural.
In the structure of the novel, the traditional hierarchy of compositional parts is transformed.
The epilogue, the appendix (narrative fragments placed "outside the brackets" of the main action) lose the function of the supplement, which does not have a defining meaning for the whole work as a whole.
Each element is equivalent and necessary to complete the artistic integrity of the image.
Moreover, as in the lyrics, a significant semantic load in" Doctor Zhivago " falls precisely on the final parts of the narrative.
The epilogue tells about the spiritual ascent of Zhivago's friends Gordon and Dudorov, about the newly accomplished miracle of transfiguration.
The system of reminiscences in the epilogue actualizes the content of the main stages of the doctor's life path, which creates the effect of his invisible presence.
Thus, there is a overcoming of the completeness of the action, which is generated by the death of the main character, the fact of completeness, which contradicts B. Pasternak's philosophical thought about the infinity and continuity of the life flow.
The seventeenth part of the novel is especially significant in the plot and compositional organization of the novel.
Poems, being the most characteristic compositional layer of lyrical prose, make it possible to judge the culminating, culminating moments of the life of the characters.
The notebook of poems reveals the creative otherness of Yuri Zhivago.
The idea of immortality - one of the general ideas in the novel thus finds an adequate embodiment in the symbol of imperishable art, inextricably linked with the timeless and imprinting it in the word.
The culmination of the poetic cycle is the image of Jesus Christ, which crowns the lyrical storyline, leading it into the infinity of eternal life.
The structure of the general novel composition models the shape of the triptych.
This is the path of the lyrical hero recreated three times: the earthly existence of Yuri, the invisible presence in the destinies of friends and, finally, the spiritual otherness of Zhivago.
This composition reveals the interaction of forward and backward perspectives: the movement from the past to the future and from the future backwards.
Thus, the main structural principle of the plot in "Doctor Zhivago" is in close accordance with the recurrent (returning) principle of "building meaning" in the lyrics.
This study is the first stage of understanding "Doctor Zhivago" in the context of lyrical and lyricized prose of the XX century.
Its results allow us to outline some of the most interesting, important and promising areas for further study of the novel.
The problems of interaction and interrelation of the creativity of B. Pasternak and the Austrian writer R. M. Rilke require close attention.
If there are already studies in literary criticism and literary criticism that establish the typological and even genetic similarity of the poetic systems of B.Pasternak and R. M. Rilke, then in the field of prose, this problem remains open.
B. Tsasternak's attention to the work of R. M. Rilke is characterized by a special constancy, which convincingly proves that R. M. Rilke was not a youthful hobby of B.Unlike many of his contemporaries, Pasternak spent his entire creative life in a dialogue with the legacy of the Austrian poet B. Pasternak, starting with his translations of R. Mrilke's poems and ending with the creation of a novel of a special type.
In his comments on the novel, B. Pasternak pointed out the deep relationship between "Doctor Zhivago" and "Notes of Malte Laurids Brigge": "I want to give.
You will understand about the novel, or rather about its spirit.
This is the world of Malte Brigge.
A very sad, very encompassing, full of lyrics and a very simple thing" (5, 540). "
Notes of Malte Laurids Brigge " by P. M. Rilke is defined as one of the first lyrical novels of the XX century, where the novel lyrical form appeared almost involuntarily, has not yet crystallized.
In the novel by R. M. Rilke, which reveals the devastation, the destruction of personality under the influence of an inexplicable, disintegrating world, chaos, subjugating a person, the emphasis is not on the subordination of a person to the external world, but on the possibilities of integration by an autonomous consciousness of the "new reality", the knowledge of its innermost content, the "absolute".
Because of this, Rilke's novel is considered as one of the first attempts to overcome the "new reality" directly lyrically, one of the first exits to the lyrical concept of human existence specific for the XX century.
The establishment of the typological similarity of the two novels will allow us to better understand the specifics of the lyrical novel form as a whole.
The novel "Doctor Zhivago" is the final work of B.Pasternak, who crowned the writer's long creative search, the realization of that "physical dream of a book" (4, 366), which possessed B. Pasternak almost from the first steps in literature.
The desire to "make the experience of his life artistically accessible to all mankind" (3, 6) and the desire for a wide coverage of reality had a noticeable influence on his poetic work, giving rise to a pronounced tendency to epize lyrics.
In this regard, it is essential to study the path of B. Pasternak to the creation of the lyrical novel "Doctor Zhivago", which involves considering the novel in the context of the lyrical epic poems "High Illness"," Lieutenant Schmidt", "Snektorsky", "905", as well as poetry collections and, above all, the book of poems "My Sister Life", which brought B.Pasternak is famous.
Turning to this aspect will allow us to explain the regularity of the emergence of a special novel form in the work of B. Pasternak, as well as to identify significant signs of a peculiar and very complex evolution of the lyrical form, during which its novel possibilities are revealed.
List of scientific literaturebondarchuk, Elena Mikhailovna, dissertation on the topic "Russian literature"
1.
Pasternak B. L. Collected works in 5 volumes.
Vol. 1: Poems and poems.
1912-1931.
Moscow: Khud.
literatura, 1989.
751 p.
2. Pasternak B. L. Collected works in 5 volumes.
Vol. 2: Poems 1931-1959.
Translations.
Moscow: Khud.
literatura, 1989.
703 p.
3. Pasternak B. L. Collected works in 5 volumes.
Vol. 3: Doctor Zhivago: Novel.
M.: Hood.
literature, 1990.
734 p.
4. Pasternak B. L. Collected works in 5 volumes.
Vol. 4: Novellas; Articles; Essays.
M.: Hood.
literature.
1991.
910 p .
5. Pasternak B. L. Collected works in 5 volumes.
Vol. 5: Letters.
Moscow: Khud.
literatura, 1992.
703 p.1.
THEORETICAL WORKS 6.
Annensky I.
The art of thought P Annensky I. Selected works.
L.: Hood.
literature, 1988.
pp.
591-611.
7. Arutyunova P.
On syntactic types of fiction prose / / General and Romance linguistics.
Moscow: MSU, 1972.
pp.
189-199.
8. Akhundova B. About the" lyrical novel "by A. P. Chekhov: Literary trends and styles.
Moscow: Moscow State University, 1976.
pp.
276-286.
9. Balasheva T. Disputes about the "new Novel" / / Questions of Literature.
1963.
N 12.
pp.
96-112.
10. Balburov E. Poetics of lyrical prose.
the 1960s and 1970s.
Novosibirsk: Nauka, 1985.
131s.
11. Bakhtin M. Questions of literature and aesthetics.
Studies of different years.
Moscow: Khud.
literatura, 1975.
504 p.
12. Bakhtin M. Aesthetics of verbal creativity.
M.: Iskusstvo, 1979.
424c.
13. Belaya G. Crisis?!
Crisis!
/ / Vzglyad.
Criticism; Controversy; Publications.
Moscow: Soviet writer, 1988.
pp.
52-79.
213 14.
Belinsky V. P. S. S. in 13 tt .
Vol. 2: Articles and reviews.
The foundations of Russian grammar.
1836-1838, Moscow; Academy of SCIENCES of the USSR, 1948.
768 p.
15. Belinsky V. P. S. S. in 13 tt .
Vol. 5: Articles and reviews 1841 1844 Moscow: Academy of Sciences of the USSR, 1954.
863 p.
16. Belinsky V. P. S. S. in 13 tt .
vol. 6: Articles and reviews 1842 1843 Moscow: USSR Academy of Sciences, 1955.798 p.
17. Belinsky V. P. S. S. in 13 tt .
vol. 9: Articles and reviews 1845 1846 M: USSR Academy of Sciences, 1955.804 p.
18. Belinsky V. P. S. S. in 13 tt .
vol. 10: Articles and reviews 1846 1848 Moscow: Academy of Sciences of the USSR, 1956.
474 p.
Russian Russian novel / / Problems of realism of Russian literature of the XIX century.
M.-L.: Academy of Sciences of the USSR, 1961.
410 p.
20. Vykhodtsev P. Subject and object in literature. (Poetic image)
/ / Time.
Pathos.
Style.
Artistic trends in modern Soviet literature.
M.-L.: Nauka, 1965.
pp.
59-112.
21. Hegel G. V. F. Aesthetics.
Vol. 1 //Hegel G. V. F. Aesthetics.
Sobr.
op.
in 4 x tt .
M.: Art, 1968.
312 p.
22. Hegel G. V. F. Esthetics.
Vol. 3 //Hegel G. V. F. Aesthetics.
Sobr.
op.
in 4 x tt .
M.: Art, 1971.
620 p.
23. Ginzburg L. Literature in search of reality.
Articles.
Essay.
Notes.
L.: Soviet writer, 1987.
400 p.
24. Ginzburg L.
About the lyrics.
L.: Soviet writer, 1974.
408 p.
25. Ginzburg L.
About the literary hero.
L.: Soviet writer, 1979.
224s.
26. Girshman M. Literary work: theory and practice of analysis.
M.: Higher School, 1991.
159 p.
27. Girshman M.
The rhythm of fiction prose.
Moscow: Soviet writer, 1982.
368 p .
28. Grechnev V.
The story about the system of genres at the turn of the XIX XX centuries: On the question of the reasons for the change of genres / / Russian literature.
1987.
N 1.
pp.
131-144.
214 29.
Humboldt V. Selected works on linguistics.
M.; Progress, 1984.400 p .
30. Humboldt V. Language and philosophy of culture.
Moscow: Progress, 1985.
452 p .
31. Dneprov V. Ideas of time and forms of time.
L.: Soviet writer, 1980.
598 p .
32. Dneprov V. Features of the novel of the XX century.
M.-L.: Soviet writer, 1965.548 p .
33. Dobrenko E.
The crisis of the novel / / Questions of literature.
1989.
N 6.
pp.
3-34.
34. Share T.
From the history of the development of lyrical prose / / Scientific notes of the Tashkent Pedagogical Institute.
1972.
Vol. 86. pp.
55-65.
35. Share T.
The artistic originality of the lyrical style of Olga Bergholz//Scientific notes of the Tashkent Pedagogical Institute.
1972.
Vol. 86. p. 189-198.
36. Dostoevsky F. P. S. S. in 13 tt .
vol. 13: Articles for 1845-1878.
M.-L.: Gosizdat, 1930.
650 p .
37. Ivanov Vyach.
Furrows and Boundaries: Aesthetic and critical experiments.
M. 1916.
38. Zatonsky D.
The art of the novel and the XX century.
M.: Hood.
literature, 1973.535 p .
39. Zatonsky D.
About aesthetics, poetics, literature / / Questions of literature.
1977.
N4.
pp.
254-264.
40. Zatonsky D. Roman and the document / / Questions of literature.
1978.
N 12.
pp.
135-162.
41. Zhirmunsky V. Theory of literature.
Poetics.
Stylistics.
L.: Nauka, 1977.
404 p.
42. Keldysh V.
Russian realism of the beginning of the XX century.
Moscow: Nauka, 1975.
280 p.
43. Kagan M. Morphology of art.
Historical and theoretical study of the internal structure of the world of arts.
L.: Iskusstvo, 1972.
440 p.
44. Kashina N. Genre as an aesthetic category.
Moscow: Znanie, 1984, N 10.64 p.
45. Kiselev A.M. Prishvin on genre forms of literature (Based on the material of diaries) / / Genre forms in Russian literature of the late XIX early XX centuries.
Interuniversity collection of scientific works.
Kuibyshev: KSPI, 1985.
pp.
3-14.
46. Kopelev L.
In search of truth and hope // Belle G.
And did not say a single word.
Moscow: Foreign lit., 1957.
pp.
5-16.
47. Kopystyanskaya N.
The concept of "genre" in its stability and variability //Context.
1986.
Literary and theoretical research.
Moscow: Nauka, 1987.
p. 178-204.
48. Korman B.
On the integrity of a literary work and an experimental dictionary of literary terms / / Problems of the History of criticism and Poetics of Realism.
Interuniversity collection.
Kuibyshev; KSU, 1981.
pp.
39-54.
49. Korman B. Generic nature of Paustovsky's short story "Telegram" (On the question of the specifics of lyrical prose) / / Genre and composition of a literary work.
Kaliningrad.
1976.
Issue 2.
125 p.
50. Landor M. Big prose from small: About one emerging genre of the 20th century // Questions of literature.
1982.
N 8.
pp.
75-106.
51. Leiderman N.
The movement of time and the laws of the genre.
Genre patterns of the development of Soviet prose in the 60-70s.
Sverdlovsk: Sredne Uralsky Book Publishing House.
1982.
256 p .
52. Lipin S.
Through the prism of feelings.
About lyrical prose.
Moscow: Soviet writer, 1978.
288 p.
53. Likhachev D. Poetics of Old Russian literature.
L.: Khud.
literatura, 1971.414 p.
54. Medvedev P.
The problem of genre / / From the history of Soviet aesthetic thought 1917 1932.
Moscow: Iskusstvo, 1980.
pp.
418-424.
55. Mazepa N. Verse and prose of the poet.
Kiev: Naukova dumka, 1980.
184 p.
56. Nikolskaya L. Lyrical structure of I. Bunin's novel "The Life of Arseny Va" / / Problems of the history of criticism and poetics of realism.
Interuniversity collection.
Kuibyshev.
KSU.
1981.
pp.
98-119.
57. Novalis.
Fragments / / Literary theory of German Romanticism.
Documents.
The publishing house of writers in Leningrad.
1934.
pp.
121-148.
58. Novichenko L. Style method life / / Part of the common cause.
Problems of Soviet literature.
Articles of 1966-1970.
Moscow: Khud.
literatura, 1970.
pp.
356-392.
59. Orlitsky Yu.
B. Verse and prose in Russian literature.
Essays on history and theory.
Voronezh: VSU, 1991.
200 p .
60. Ortega and Gasset X.
A short treatise on the novel / / Questions of literature.
1987.
N9.
pp.
169-205.
61. Ortega and Gasset X. Thoughts about the novel / / Questions of literature.
1991.
N 2.
pp.
82-128.
62. Pavlovsky A.
On lyrical prose (O. Bergholz and Vl.Soloukhin) / / Time.
Pathos.
Style.
Artistic trends in modern Soviet literature.
M.-L.: Nauka, 1965.
pp.
247-271.
63. Pal I.
About the genre.
M.: All Russian Theater, ob vo, 1962.
96 p .
64. Petrosov K. Theoretical and historical and literary aspects of studying the problem of the lyrical hero / / Izv.
USSR Academy OF Sciences.
Ser.
lit. and yaz.
1989.
Vol. 48. N 1.
pp.
3-16.
65. Pospelov G. Problems of the historical development of literature.
Moscow: Prosveshchenie, 1972.
271 p.
66. Pospelov G. Theory of literature.
Moscow: Higher School, 1978.
351 p .
67. Russian writers about literary work.
KHUSH -XX centuries.
Vol. 4. L.: Soviet writer, 1956.
860 p .
68. Rymar N.
Introduction to the theory of the novel.
Voronezh: VSU, 1989.
270 p .
69. Rymar N.
On the genre nature of G. Bell's novel "Group Portrait with a Lady" / / Problems of the History of Criticism and Poetics of Realism.
Interuniversity collection.
KSU.
1980.
Issue 5.
pp.
156-171.
70. Rymar N. Poetics of realism.
Saratov.
1990.
256 p .
71. Rymar N. Modern Western novel.
Problems of epic and lyrical form.
Voronezh: VSU, 1978.
128 p.
72. Rymar N., Skobelev V.
The author's theory and the problem of artistic activity.
Voronezh.
1994.
264 p.
73. Saparov M. Reflections on the structure of a work of art it The structure of a work of art.
Collection of scientific works.
L.: Nauka, 1984.
pp.
179-206.
74. Sidorov E.
On the way to synthesis // Questions of literature.
1975.
N 6.
p. 99124.
75. Skobelev V. Mass and personality in Russian Soviet prose of the 20s.
Voronezh: VSU, 1975.
341 p.
76. Skobelev V. Poetics of the story.
Voronezh: VSU, 1982.155 p.
77. Skobelev V.
The word is far and near.
The hero people is a genre.
Samara.
1991.280 p.
78. Slutsky M. Lyrical prose.
From where and to where?
/ / Questions of literature.
1968.
N11.
pp.
127-136.
79. Smirnov I. Generation of intertext (elements of intertextual analysis with examples from the work of B. L. Pasternak).
Wiener slawistischer almanach sonderband 17.
Wien.
1985.
206 p .
80. Sokol L.
About the originality of the genre of lyrical prose // Scientific Notes of the Kaliningrad State University.
Philologist, sciences.
1969.
Issue 1U.
81. Suchkov B. Modernity and realism / / Znamya.
1963.
N 5.
p. 171-188.
82. Typology and interrelations of ancient world literatures.
Moscow: Nauka, 1971.311 p.
83. Tynyanov Yu.
Poetics.
The history of literature.
Cinema.
Moscow: Nauka, 1977.574 p.
84. Tyupa V.
The artistry of Chekhov's story.
Moscow: Higher School, 1989.
135 p.
85. Fedorov V.
About the nature of poetic reality.
m.: Soviet writer, 1984.
184 p.
86. Fedotova JI.
On the question of the genre and speech specifics of lyrical prose//Scientific notes of the Moscow Pedagogical Institute.
1971.
T. 451.
Ch.
p. p. 157-166.
87. Florensky P.
The pillar and the assertion of truth.
M.: Path, 1914.
88. Chernets L. Literary genres (problems of typology and poetics).
M.: MSU, 1982, 192 p .
89. Shtut S. Reasoning and descriptions // Questions of literature.
1975.
N 10.
pp.
38-72.
90. Elyashevich A.
About the lyrical beginning in prose / / Zvezda.
1961.
N 8.
pp.
189-202.
91. Esalnek A. Actual problems of studying genres / / Bulletin of the Moscow University.
Ser.
9. Philology.
1985.
N 1.
pp.
3-11.
92. Esalnek A.
Some regularities in the study of genres in the 20-30s of the XX century // Literary trends and styles.
Sat. art., dedicated.
to the 75th anniversary of G. N. Pospelov.
Moscow: MSU, 1976.
390 p.
93. Yakimenko L.
On the roads of the century.
Actual issues of Soviet literature.
Moscow: Khud.
literatura, 1973.
368 p .
94. DISSERTATION RESEARCH 95.
Alekseeva M. B. Pasternak's creativity of the 1910s and 1920s: The formation of organic poetics.
Autoref.
diss.
candidate of Philology, sciences.
Yekaterinburg.
1997.
19 p.
96. Burtseva T. B. L. Pasternak's linguopoetics and its evolution (based on the material of original poetry) Autoref.
dissertation of the Candidate of Philology.
Kazan.
1997.
18 p .
97. Darwin M. Cyclization in lyrics.
Historical paths and artistic forms.
Autoref, diss.
doct.
philologist, sciences.
Yekaterinburg, 1996.
98. Girzheva G. Poetics of lyrics B.Pasternak (linguistic aspect).
Diss.
candidate of Philology, sciences.
M. 1991.
239 p.
99. Kiasashvili E. Georgian poetry in the development of B. Pasternak and P. Antokolsky (problems of literary analysis).
Diss.
candidate of Philology.
sciences.
Tbilisi.
1990.
210 p. 100.
Contreras Toledo Victor Manuel.
The novel "Doctor Zhivago".
Perception of the world and the concept of personality.
Diss.
candidate of Philology, sciences.
M. 1992.
175 p. 101.
Kretinin A.
The novel "Doctor Zhivago" in the context of B.'s prose.
Pasternak, Diss.
candidate of Philology, sciences.
Voronezh.
1995.
102.
Lee Hyung suk "A Novel about a Novel" in Russian prose of the 1920s and its genre varieties.
Autoref.
diss.
candidate of Philology, sciences.
Moscow.
1997.
23 p. 103.
Merkulova T.
The problem of creativity in the poetry of M. Tsvetaeva and B. Pasternak of the 1920s and 1930s.
Diss.
candidate of Philology, sciences.
M. 1992.
188 p. 104.
Mineralova I. Artistic synthesis in Russian literature of the XX century.
Diss.
doct.
philol.
nauk.
M.
1994.
367 p. 105.
Orlitsky Yu.
The interaction of verse and prose: A typology of transitional forms.
Diss.
doct.
philol.
sciences.
Donetsk.
1992.
456 p. 106.
Orekhova L.
The image of the author and the poetics of the genre: Russian lyrics and prose of the 20th century.
Autoref.
dissertation of the Candidate of Philology.
Kiev.
1992.
107.
Pavlovets M.
The formation of the artistic system of B. L. Pasternak and the work of P. M. Rilke.
Autoref.
dissertation of the Candidate of Philology.
Moscow.
1997.
17 p. 108.
Romanova I. Semantic structure of the "Poems of Yuri Zhivago" in the context of the novel and lyrics by Boris Pasternak.
Autoref.
diss.
candidate of philology.
sciences.
Smolensk.
1997.
18 p. 109.
Rymar N.
The ratio of the lyrical and epic in the modern West German novel.
Diss.
candidate of Philology, sciences.
Kuibyshev.
1978.
227 p. 110.
Sineva O. Stylistic structure of Boris Leonidovich Pasternak's artistic prose.
(The novel "Doctor Zhivago").
Diss.
candidate of Philology, sciences.
M. 1995.
199 p. 111.
Soloveitchik Silberstein I. Stylistic convergence in the early prose of B.Parsnips.
Diss.
candidate of Philology, sciences.
M. 1995.
174 p. 112.
Stepanov A. Metastile topics in Russian works of the 19th 20th centuries.
Auto ref.
diss.
candidate of philology.
sciences.
M. 1995.
113.
Tyuleneva E. Creativity of B. Pasternak of the 1910s 1920s: Mytho thinking and poetics of the text.
Autoref.
diss.
candidate of Philology, sciences.
Ivanovo.
1997.
16 p. 114.
Fateeva N. Verse and prose as two forms of existence of poetic idiostyle.
Autoref.
diss.
doct.
philologist, sciences.
Moscow.
1996.
44 p. 115.
Fomenko I. Poetic creativity of B. Pasternak 10 x -20 x Diss.
candidate of Philology, sciences.
M. 1971.
398 p. 116.
Shtepenko A.
The poetic cycle of B. Pasgernak "The Second Birth" and its place in the creative evolution of the poet.
(Genesis, history of the text.)
Diss.
candidate of Philology, sciences.
M. 1994.
186 p. 117.
DICTIONARIES AND REFERENCE manuals 118.
Short literary encyclopedia.
M: Soviet encyclopedia.
1966.
119.
Literary encyclopedic dictionary.
120.
B. M. Kozhevnikov, P. A. Nikolaev.
M.: Soviet Encyclopedia.
Russian Russian Dictionary of Literary terms, 1987.
121.
Dictionary of literary terms.
Ed. - comp.: L. I. Timofeev, 122.
C. V. Turaev.
M.: Enlightenment, 1974.
509 p. 123.
Dictionary of modern Russian literary language in 20 volumes.
M.: Russian language, 1991.
124.
About the work of B. L. PASTERNAK 125.
Aucouturier M. Une clef grove Sauf conduit (en russe) / / Boris Pasternak.
1890-1960.
Colloquede cerisy la salle.
Paris.
Institute d'etudes slaves.
1979.
P. 337349.
126.
Baevsky V.
On some features of the creative evolution of B. Pasternak / / Problems of the development of Soviet literature.
Epic genres: ideological and aesthetic searches, the evolution of artistic forms.
Saratov.
1985.
pp.
41-53.
127.
Blagov D. A. Conference dedicated to the 100th anniversary of the birth of B. L. Pasternak / / Russian literature.
L. 1990.
N 3.
pp.
218-222.
128.
Bushin V.
If you know and remember: About the creative fate of B.Parsnips.
// The Young Guard.
1988.
N 2.
p. 269-279.
129.
Varlamova E. .To the ultimate simplicity / / Literary Review.
1984.
N 1.
P.
48-51.
130.
Weidle V. Pasternak and Modernity zm / / Literary studies.
1990.
N 1.
pp.
156-163.
131.
Vozdvizhensky V. Walks with Shafarevich and without.
M. (Library "Ogonka").
1991.
N52.
47 p. 132.
Galotsi Komyati K.
From the "Apelles line" to "Hamlet" (about one leitmotif in Pasternak's work) / / Studia Rossica Poznaniensia.
Zeszyt XX1U.
Poznan.
1993.
Universytet im.
Adama Mickiewicza w Poznaniv.
C. 3-8.
133.
Gibian D. Leonid Pasternak and Boris Pasternak: polemics of father and son / / Questions of literature.
1988.
N9.
pp.
104-127.
134.
Danin D.
The unequal duel of man with God.
Reflections from the book: "This will become a proverb with us" / / Science and Life.
1989.
N 12.
pp.
128-139.
135.
Djurchinov M. L'antinomie romantisme realisme dans la poetique de Pasternak / / Boris Pasternak.
1890-1960.
Colloque de cerisy la salle.
Paris.
Institute d'etudes slaves.
1979.
P.
95-102.
136.
Yevtushenko E. Volchiy passport.
M.: Vagrius, 1998.
574 p. 137.
Yevtushenko E. Martyrs of Dogma, you are also a victim of the century // Literary newspaper.
1996.
October 16.
N 42.
p. 3. 138.
Erlich V. Boris Pasternak and Russian poetic culture of his time / / Boris Pasternak and his times.
Selected papers from the second international symposium on Pasternak.
Berkeley Slavic specialties, 1989.
P.
32-45.
139.
Zaitsev B. Eternity / / Word: Literary and artistic monthly of the State Publishing Houses of the USSR and the RSFSR.
1990.
N 2.
pp.
50-51.
140.
Zaitsev B. Path: About Pasternak II Literary Review.
1990.
N 2.
pp.
77-78.
141.
Ivanov Vyach.
"Eternal Childhood" by Pasternak // Literature and art in the system of culture.
Moscow: Nauka, 1988.
pp.
471-480.
142.
Iskrzytska I. Boris Pasternak: Ethics of culture / / Studia Rossica Poznaniensia.
Zeszyt XX1U.
Poznan.
1993.
Universytet im.
Adama Mickiewicza w Poznaniv.
C.
55-60.
143.
Katan Yu.
About the" Apelles line " of Boris Pasternak.
An attempt at comprehension / / Literary Review.
1996.
N 4.
pp.
43-49.
144.
Katsb.
Embassy of Music//Soviet music.
1990.
N 10.
pp.
35-41.
145.
Klimova D.
On some unresolved issues of textual criticism and publication of the works of B. Pasternak / / Russian literature.
1990.
N 4.
pp.
233-236.
146.
Kopelev L. L'univers fausten de Boris Pasternak // Boris Pasternak.
18901960.
Colloque de cerisy la salle.
Paris.
Institute d'etudes slaves.
1979.
P.
491-515.
147.
Kretinin A.
The artist and life in prose by B. Pasternak / / Philological notes.
Voronezh.
1997.
Issue.
8. pp.
72-82.
148.
Kuznetsova M.
So they begin to live in verse.
/ / Librarian.
1990.
N 2.
pp.
56-57.
149.
Kushner A. Notes in the margins // Questions of literature.
1990.
N 4.
pp.
129-158.
150.
Chiaromonti N. The Paradox of history.
Stendhal, Tolstoy, Pasternak and others.
Edizioni Aurora.
Firenze.
1973.
205 p. 151.
Levi P. Boris Pasternak.
Hutchison.
London Sydney Auckland Johannesburg.
1990.
310 p. 152.
Levina T. Passive wealth: Pasternak and Russian painting of the 1910s and 1940s / / Literary Review.
1990.
N 2.
pp.
84-89.
153.
Licht R.
"Both creativity and miracle working": (Experience of spiritual biography) / / Volga.
1990.
N2.
pp.
149-163.
154.
LukyaninV.
Word space/ / Ural.
1992.
N3.
pp.
3-5.
155.
Mallac G. Les idees esthetiques de Pasternak // Boris Pasternak.
18901960.
Colloque de cerisy la salle.
Paris.
Institute d'etudes slaves.
1979.
P.
63-81.
156.
Meylak M. The second Pasternak readings in Moscow / / Questions of Literature.
1989.
N 7.
pp.
272-278.
157.
Meylak M.
The Jubilee year of Pasternak in England // Questions of literature.
1991.
N8.
pp.
239-250.
158.
Merkulova T. I.
About the "existentiality" of artistic perception of B. Pasternak / / Philological Sciences.
1992.
N 2.
pp.
3-10.
159.
Novikov V. Echoes and grimaces: Pasternak in parodies and epigrams: To the 100th anniversary of the birth of B. L. Pasternak // Literary review.
1990.
N 3.
