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UDC 82.161.1-3
Radomskaya Tatiana I.,
Doctor of Philology,
Professor of the Institute of Slavic Culture
Kosygin Russian State University
ORCID ID: 0000-0001-9442-7643
e-mail: radomtatig@gmail.com
Fedorov Maksim L.,
Candidate of Philology,
Senior Scientific Researcher
Gorky Institute of World Literature of the Russian Academy of Sciences
e-mail: maksimfyodorov@yandex.ru
The article shows how the peculiarities of the development of the Christian theme in Doctor Zhivago were predetermined not only by the author’s personality, but also by the philosophical and theological searches of the first third of the 20th century — the philosophy of the unity of S.N. Bulgakov, the phenomenological school of E. Husserl in the transmission of G. Shpet, as well as the domestic phenomenological tradition analyzed by S.L. Frank. In this regard, for the first time, we have attempted to compare the phenomenological image in Christian hymnography with the artistic image of the novel, which tried to capture the Divine in the earthly, which made it possible to identify the uniqueness of the phenomenological image in the work. The unity of man with the world and the Creator — this theme defines the range of thoughts of the author and his protagonist and corresponds to one of the main provisions of the “Philosophy of Economy” S.N. Bulgakov on the identity of subject and object, which determines the presence of intertextual links between the “Philosophy of Economy” and the text of the novel. A special Christian phenomenology, which creates a certain image of the world, is closely connected with the philosophy of unity. Thus, earthly life appears spiritualized by the Divine presence and, in a certain sense, becomes a phenomenon of the noumenal essence. The article shows that Pasternak’s comprehension of spiritual reality has its own distinctive features. In this regard, the article reveals similarities and differences between the spiritual texts of modern Pasternak — the Akathist of Mitr. Trifon (Turkestanov) “Thank God for everything!” and the text of the novel. Thus, if the Russian phenomenological tradition represented in the akathist, according to S.L. Frank, is characterized by a combination of “the immanent presence of the Divine principle <…> with a keen sense of transcendence”, then in the image of Pasternak, striving to capture the divine in the material, there is an immanent, soul-sensual comprehension of spiritual reality, the ideal domain of meanings becomes immanent to the earthly dimensions, the phenomenological image, sometimes, ceases to denote the noumenal essence. This development of the Christian theme in the novel, in particular, is associated with a sense of equality between man and God, but not with the hierarchy of the world, which is consonant with the general type of worldview of the beginning 20th century.
Keywords: phenomenon, noumenon, trope, unity, phenomenological image, poetics.
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