Towards a typology of doubles: one case

The article attempts to outline the principles of building a future typology of doubles in literature and art. The typology presupposes a distinction between a compact core and a more extensive periphery, which is formed by cases that deviate from this central zone in one way or another and combine the features inherent in doubles in different ways. The minimum conditions that allow us to talk about them in principle, come down to two: the presence of two somatically identical referentsubjects and the need for their identification. If we keep in mind the core of doubles, then we must add several more mandatory signs to this necessary foundation. Firstly, it is not just identification, but confirmation of the similarity by the doubles themselves and their surroundings. Secondly, it is the presence of doubles in the same chronotope, that is, existence at the same time in a three dimensional space which is common for every one them. Thirdly, it is plot necessity in such stories for these characters to meet face to face. Fourth, it is a fairly long term stability of both referents, characterized by continuity and implying that they become full fledged actors. Using the example of J. Finney’s novel “Body Snatchers”, four films based on it, and a number of related cases in literature and cinema, the article explores in close up one of the deviations from the core of doubles. The essence of this deviation is that the characters doubles being somatically identical, having sufficient stability and being in the same space, end up in different times. As long as the original exists, a copy cannot arise; when a copy appears, the original disappears. Because of this, neither identifying one’s double nor meeting with it becomes impossible. The standard identification is replaced by recognizing who is in front of you - the original or his double, and by a saving imitation of being no longer you, but a copy of yourself.