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.