Поливанов К., Успенский П. "Свадьба" Б.Л. Пастернака "при свете Жуковского" // Замечательное шестидесятилетие. Ко дню рождения Андрея Немзера. Т. 1. М., 2017. С. 243-265. (original) (raw)
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Russian Literature Volumes 100–102, 15 August–15 November 2018, Pages 235-251, 2018
The article presents a reading of the cycle " Winter Morning " (" Zimnee utro ") from Boris Pasternak's fourth book of poetry, Themes and Variations (Temy i variatsii, 1923). The cycle is constructed from variations on the images and motifs of predecessors, both poets and musicians, including Aleksandr Pushkin, Vasilii Zhu-kovskii, Apollon Maikov, Aleksandr Blok, and Petr Tchaikovskii and his Children's Album. This analysis of the text – at the level of its lexical, rhythmic and syntactic features – demonstrates the profound convergence of music and poetry, the interweaving of literary and musical allusions, and the inclusion of contemporary experience into the course of history as basis for the creative transformation of the world in Pasternak's poetics. With this analysis, we demonstrate why and how lyrical poetry functions as a key source for the reconstruction of the poet's political, cultural-historical, conceptual, and spiritual views.
Russian Literature, 2015
The paper explores the tight relation between "art" and "immortality" in Boris Pasternak's author's ideology on the basis of a newly found letter to his second wife Zinaida Nikolaevna Neigauz, written in the beginning of 1931. This letter, preserved only in a copy, sheds new light upon one of the most important points of the author's ideology. In this document, Pasternak explains his views on the unacceptability of suicide. The letter is closely related to his autobiographical work Safe Conduct, the final part of which was written soon after the suicide of Vladimir Maiakovskii. It is possible to draw a line from the letter to the novel Doctor Zhivago. The ends of two protagonists' lives, Iurii Zhivago and his antipode Pavel Antipov-Strelnikov, are compared. The main protagonist dies, leaving behind his poetry. For Pasternak, it is the way of continuation, "life after death", and the symbol of creative immortality of a poet. On the contrary, Antipov committed suicide, an end consistent with his life position.
В работе анализируется роль Москвы и конкретных московских местностей в реализации сюжетного замысла романа Бориса Пастернака «Доктор Живаго». Основное содержание – выявление родства характера автора и «характера» города, а также авторского отношения к образу города как важнейшему элементу в раскрытии замысла произведения. Методически работа строится на традиции анализа литературной местнографии, заложенной отечественным филологом и культурологом Н. П. Анциферовым (концепция «души местности»). Выстроен ряд бинарных оппозиций, характеризующих и особенности городской культуры и характер творчества Пастернака. The paper deals with the literary topography problems concerning the image of Moscow as it formed by Boris Pasternak. A sort of kinship is revealed in the spirit of the Moscow city and the Pasternak’s individuality as reflected in “Doctor Zhivago”