What is "essence"? Meaning of the word. How is it used in modern life? Topographic anatomy and operative surgery

Many years ago, people realized that they were far from alone in the Universe. There is something higher, something more developed than all of humanity combined. At all times, this “something” had different names: messiah, god, demon, higher intelligence, however, the essence of this does not change. All beliefs like this supernatural power are based on the fact that she is higher in her level of development, and this, in turn, gives her the opportunity to manage the affairs and fate of humanity. But here comes one tricky question. How does the higher mind “regulate” human actions? In the process of studying this difficult issue, scientists called this phenomenon providence.

Providence: general characteristics of the term

In the narrowest sense, providence is the process of influence, regulation and coordination of people, their behavior, fate, life processes, feelings and emotions by some supernatural being, in other words, a deity. Such a definition of the term is very complex and incomprehensible, but even here a rational grain can be identified. Scientists have suggested that God still exists. Moreover, having intelligence and strength, he is able to influence the world of people. Thus providence is an activity supernatural being called god.

The question of providence has always excited the minds of scientists for many centuries. Philosophers were the first to take up this issue ancient Greece. It is thanks to their reasoning that scientists from other branches of science (theology, history and logic) can not only assume, but use previously acquired knowledge regarding the issue of providence.

Providence in philosophy

Representatives of many philosophical schools developed their understanding of the term providence. Each of the theories has since today it is not known how this “mechanism” actually works. It should be noted that all theories are based on the same thing - divine intervention in human affairs. But the principle of “action” in each theory is different. For example, Socrates understood the action of higher reason as the basis of the foundations of good. But such a statement largely does not correspond to reality, because it rejects all manifestations of human evil. A completely different understanding of providence is given by Philo of Alexandria. According to his theory, providence is the actions of the supreme deity or mind aimed at achieving balance in the world through the use of all necessary ways. This determines the emergence of evil, because it is not always possible to achieve the desired result only with the help of good.

Providence is a significant part of all ancient philosophy. This knowledge developed and eventually pumped into religious beliefs, which began to actively develop during the Middle Ages.

Holy Providence

Religion and philosophy are related to each other. But if in philosophy the presence of many points of view is allowed, then religion mainly resorts to consolidating one, dominant point of view.

Let's take Christianity for example. In the context of this religion, God's providence acts as the means by which God controls everyone and everything on this earth. The purpose of such “work” is the plans of God, which he wishes to accomplish. According to religious belief, with the help of providence, God controls and influences absolutely everything: life, nature, fate, the universe, people’s actions, etc. God is eternal, so he does everything to ensure that mortals live in harmony with the world around them, and this requires total control of the entire universe.

Inaccuracies of Religious Belief in Providence

God's providence has a number of inaccuracies. For example, the concept of absolute control contradicts the presence of consciousness in humans. God gave all people freedom of choice, so why take it away now. The moment of existence of the world itself is also unclear. If the higher mind “manages everything,” then can our existence be called a reality? Similar questions arise constantly in the process of studying the factor of providence. Many scientists have tried to answer them, but almost all have failed.

In conclusion, it should be noted that providence is the person’s own faith in the supernatural and in its power to change the usual. We create deities for ourselves, but all life is only in our hands. The executor of providence is the person himself, but this is a completely different theory.

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Asked 2012-10-12 12:57:36 +0400 in the topic "Other questions" from Moscow

What is the essence of the term “essence of the state”:.

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Answers (1)

INTRODUCTION

More books are bought from us than read, and more are read than understood. Because we don’t have, we don’t have a hundred thousand readers of Proust! But there are five million who, for three years, would willingly put him on the shelf, and themselves a step higher in the table of ranks: education is still prestigious in our country. So simple: serious books after all, they are serious not absolutely, in themselves, but in relation to the majority of others, less serious, and are perceived by a small part of readers who are more inclined and capable of this than the majority. It's elementary, right, Watson? (M. Weller)

Mass culture. Today you hear this term more and more often. What does it mean, why is it the mass character that prevails in literature these days? Today people read a lot. They read on the subway, on the train, at work, and, we suspect, at home. On the subway they read textbooks and small books in paperbacks. Most often these are detective stories, romance novels, and science fiction. These books reproduce images of a world organized according to different laws who are united common feature- mass character. Society's interest in mass literature, published in millions of copies and which has become an integral part of its linguistic existence, perhaps, can no longer be denied. According to sociologists, mass literature today makes up 97% of the literary flow. All this is part popular culture. Why is mass culture needed? For the same reason that two hemispheres are needed in the human brain. In order to implement the principle of complementarity, when the lack of information in one communication channel is replaced by its excess in another.

Purpose of the study: to comprehend the peculiarities of human behavior in the genres of mass literature.

Research objectives:- consideration of the concept of “mass literature” in literary criticism

Study of materials on the study of the genre of anecdote in literary and cultural works.

Research of materials on the problem of studying Russian national character

Identification of the main types of heroes in the genres of anecdote and men's novel

Analysis of the behavior of heroes in the genres of anecdote and men's novel

Relevance The topic is that the problem of human behavior in popular culture has not been sufficiently studied. The difficulties of the study lie in the fact that postmodernism is a real and unfinished process modern culture. And it’s too early to say anything concrete about it.

Subject of research of this work was popular culture in general, and human behavior in individual genres mass culture, namely in the genre of anecdote and men's novel.

1. The essence of the term anecdote and mass literature

ANECDOTE (from Greek ane "kdotos "unpublished" English canned joke), short oral history about a fictional event of topical everyday or socio-political content, with a humorous or satirical overtones and an unexpected witty ending. Anecdote is a widespread speech genre in the Russian language, Soviet and post-Soviet period. In the second half of the 18th and 19th centuries. the word “anecdote”, or “literary anecdote” (English anecdote) had a different meaning: a short, often moralizing story about an unusual real (or pretended to be real) event, an incident in life historical person(collections by N. Kurganov, P. Semenov, etc.).

Unlike a literary joke, a modern joke is an exclusively speech (and not literary) genre. It is necessary to distinguish between telling a joke as an oral speech genre and the text of the joke - what is pronounced during the implementation of this speech genre. At the same time, it is the role of the text of the joke in the functioning of the speech genre of telling a joke that determines its specificity. Telling a joke differs from most other speech genres in that the narrator (the subject of the speech genre) never claims to be the author of the text of the joke. When a person jokes, it assumes that he himself came up with the joke - retelling someone else's joke does not mean making a joke yourself. Of course, it may happen that a person repeats someone else’s joke, passing it off as his own, or reproduces a toast invented by someone else as his own, but in such cases the subject is forced to hide the borrowing of someone else’s text: if only “plagiarism” becomes obvious, the speech genre will collapse.

Meanwhile, a joke, even if a person came up with it himself, must be told as if heard from other people. Thus, the anecdote is characterized by reproducibility: in the speech genre of telling an anecdote, it is not generated anew, but reproduced. In this regard, telling a joke is somewhat reminiscent of speech genres that use clichéd formulas, for example, etiquette genres: greeting, expression of gratitude, apology, congratulations on a holiday. Using etiquette formulas as part of etiquette speech genres, the speaker also does not claim to be the author of the corresponding formula, even if his entire utterance does not include anything other than the utterance of this formula.

There is also whole line speech genres (for example, prayers), which can be reduced to the reproduction of ready-made texts. However, telling a joke also differs from genres of this kind. Although the narrator presents the joke as something he heard from other people, he simultaneously expects that the joke is unknown to the audience, that the listeners (at least some of them) have not heard it before. In this sense, the text of an anecdote cannot be considered as a linguistic cliché in the true sense of the word, which is characterized not only by reproducibility, but also by the fact that when used in speech communication it is assumed to be known to its participants. We do not demand novelty from etiquette formulas, proverbs, and prayers. On the contrary, the joke being told must be “new.” If the joke turned out to be known to all listeners, then we can assume that the telling of the joke took place (and in this sense the genre was not destroyed), but it turned out to be “unsuccessful.” The repeated reproduction of the text of an anecdote, while allowing some variation depending on the addressee or the communication situation, brings the anecdote closer to such speech genres as the literary anecdote and tale. However, these genres differ in the set of characters and the ways they are presented. Anecdotes are constantly quoted in the speeches of famous politicians, athletes and TV presenters, which allows us to talk about active intertextual connections between jokes.

So, there is an opinion that the most adequate term expressing the essence of works of mass culture is the term icon. It is the icon that corresponds to the Russian concept of image. This term characterizes this type artistic reflection, which is symbolic, fundamentally unrealistic in nature, is an object of faith, worship, and not a means of reflecting and knowing the world.

Let us now turn to the concept of “mass literature”. The concept of “mass literature” is a sociological concept. It concerns not so much the structure of a text as its social functioning in common system texts that make up this culture. « Popular literature", How fairy tale, confirms what man has known for a long time. She is always condescending to the reader and does not burden him with excessively serious problems. Thanks to an extensive system of uniquely marked genre and species forms, it warns the reader in advance that he will encounter love story or with a pornographic novel. We will dwell on this topic in more detail in the next column.

ESSENCE

In the history of the lexical structure of the Russian literary language, various movements and changes in the systems of word forms are observed. Most often, there are semantic separations of individual forms from the structure of a particular word, generated by syntactic conditions and the uniqueness of the phraseological context, and then the transformation of these forms either into individual words or into components of fused phraseological unities. In individual words, on this basis, changes sometimes arise that entail an internal collapse of the entire system of these forms. The historical and semantic processes involved here are extremely complex and heterogeneous. However, not all of these changes are equally typical. What is most rarely observed is the separation of personal forms of the verb and their transition into names. Traces of verb forms are clearly visible in the adverb system (e.g. almost, a little etc.), modal expressions, function words and interjections. The last thing one can expect is, apparently, a switch of personal forms of the verb into the class of nouns.

True, a number of nouns like scolding, pie, kiss(cf. Difficult words: Tumbleweed, rip your head off, keep your mouth, hoarder, fidgety and some others) is sometimes compared with the corresponding forms imperative mood or builds up to them. At the same time, the role of expressive factors in these semantic shifts is emphasized 373 (cf. forget-me-not). But the substantivization of personal forms of a verb in the indicative mood is an exceptional phenomenon (cf. Suvorov’s word unknowable; Wed Kannitferstan).

All the more interesting are the observations on the formation of a noun essence(cf. 3rd person plural form present tense from be), especially due to the peculiar and varied fate that befell various forms verb be.

Word essence means “essence”, “the most important thing in something”, “the essence of something”. It is used in the styles of modern book and colloquial Russian (cf. in fact, what is the essence of the question, the point is, What... and so on.). Here are some illustrations from Russian literature of the 19th century V.

In P. A. Vyazemsky’s article “Antediluvian or pre-fire Moscow”: “In this last [common people], in their opinion, all strength, all life, all valor, in a word, all Russian essence"(Vyazemsky, 1882, 7, p. 114). From A. A. Fet in a letter to P. Pertsov (dated July 26, 1891): “My one sincere advice - do not rejoice at the abundance of incoming motives, but wait for the moment when your poetic essence, as if breaking all sorts of barriers, will break out and express itself in a completely new and personally characteristic form” (quoted from: Russian writers about literature, 1, p. 446).

Word essence was not included in any Dictionary Russian language to the dictionary of V. I. Dahl. It is not found in the language of Karamzin, Zhukovsky, Batyushkov, Pushkin, Lermontov, Gogol. Consequently, one can think that it received the rights of literary citizenship no earlier than the 30-40s of the 19th century, in other words, it merged into the Russian literary language along with the flow of other professional and folk expressions, picked up and expanded by the realistic fiction 374 .

It is necessary to remember that in Old Slavonic language, along with creature (ούσία ), the word was formed there is (φύσις ), and in the language of Constantine of Bulgaria the word essence as a synonym for the word there is 375. The truth about the word there is Academician A.I. Sobolevsky wrote: “Undoubtedly, this Slavic word is not a literal translation of a Greek word created by a translator, but a word that existed in the language of the ancient Bulgarians before their acquaintance with Christianity. If you produce it from a 3 liter mold. units There is(as Bernecker does), this name should be considered a one-of-a-kind phenomenon” 376. According to A.I. Sobolevsky, Church Slavonic words in -ststvo, derived from names, participles, pronouns, are closely related in meaning to the words from which they are derived. "But there is not related to the 3 liter form. units There is by value; it means more often, φύσις . Consequently, it should not be produced from the participle that has come down to us (or from a verbal adjective) with the root *es - *is, formed identically with news, ѧтъ, bit, covered and so on." 377. But the etymology of A.I. Sobolevsky is fortune-telling, and one can doubt the connection of the word nature with form 3 l. There is no reason (cf. essence).

It is also necessary to note in Russian folk dialects the use of the form There is in the meaning of a noun. On the one side, There is opposed to substantivalized No. For example, by nature And no lives(Dahl's proverbs), you can’t find food from the net(ibid.). One cannot separate from these facts the ancient eat(plural) `lists or statements of available people': be in the food, the opposite of the expression: to be in the dark (There was so much in the food, there's so much in the net) (see the words of Grota - Shakhmatova, 1907, vol. 2, p. 154) 378. Another meaning of the word There is in relation to the national-regional everyday life And everyday life`property', `wealth', `belongings'.

In the academic “Dictionary of the Russian Language” we read: “ Eat, And. and. And Eat, i., m. (Third person of the verb in the sense of a noun). 1. Property, wealth, availability of something. Behind here(there is) Fine, Petrozav. (Sandpiper). According to food, the elder builds a cell. Ambassadors Dalia. (...) Eating doesn't make people cry(D.)" (ibid.).

From the word There is in this meaning a number of adjectives are formed, the morphological structure of which reflects the folk-regional peculiarities of word production: natural And natural (disgusting), natural And natural(meaning 'prosperous'). Compare also natural And natural(ibid., p. 145).

Word natural found in D.N. Mamin-Sibiryak’s story “In Bad Souls”: “People live here [in the Trans-Urals]” natural“, that is, wealthy (probably from the word: There is), “the people are getting rich”...".

Thus, the lexical history of the 3rd person present tense forms of the auxiliary verb be (There is, essence) is very complex and diverse. These forms served as the basis for the formation of new words that were included in different parts of speech.

Noun essence could have been formed in that era when the functions of the corresponding form of the verb be, especially in book speech, became completely vague and empty, that is, not earlier than the XVII - early XVIII V.

Academician M.I. Sukhomlinov quotes such a remark from the famous grammarian late XVIII V. prof. A. A. Barsov, extracted from his handwritten grammar of the Russian language: “...plural essence is little used, and it seems kind of wild that some, for example. in the expression: essence of a nobleman or the essence of the nobles, a noun, a name or something else, just not a verb, was taken, and not as a joke, but in truth - for argument and proof” (Sukhomlinov, issue 4, p. 293).

So, one can think that in the 17th - 18th centuries. the conditions were right for rethinking the form essence, for its substantivization in some social environment who used bookish language.

However, the word essence, having become a noun, became closely related to the lexical system of the all-Russian literary language and, as we have already noted, became its norm, an active literary dictionary 30-40s of the XIX century. Where and how did it get in? Some indications of this can be derived from historical and grammatical considerations. The essence is as a form of 3rd person plural. present date from be - after loss complete system The conjugation of the present tense of the auxiliary verb, moving along the path of substantivization, could initially be used only in a strictly defined syntactic circle: in judgments of identity and in logical definitions of concepts. For example, poets are the pride of the nation and so on.

Here are some typical usage examples essence in the copula function in literary language XVIII and first half of the 19th century c: “A simple bridle, animal skin in place of the saddle, held in place by a girth, essence the whole horse harness” (Radishchev, “Letter to a Friend”); “They will not be Italians, unless their descendants, and they are no longer Russians.” essence» (Vyazemsky, Old Notebook, 1884, 9, p. 291).

On the form essence there was an archaic patina of obsolete bookishness. Of course, it was most common in such styles as official, clerical and business, or in the styles of academic and educational speech.

Thus, the transformation of the archaic form of the verb essence a noun could only appear in a bookish, written language and, as one might guess, in its educational, school and clerical styles (cf. doesn't matter).

V.I. Dal, obviously, based on personal observations and research, derived the noun essence from the clerical dialect. There he found its historical and semantic roots. In “The Adventures of Christian Khristianovich Violdamur and his Arshet,” V. I. Dal portrayed a virtuous intercessor in the affairs of Ivan Ivanovich: “Ivan Ivanovich gets to the very essence or, in his own expression, to the very essence. ”The essence“, this was generally Ivan Ivanovich’s favorite and auxiliary type of auxiliary verb, a word that he inserted wherever he did not know what to say or write; so, he said for example: you don’t essence still a master; we are not essence great people - replacing with this the uncommon if you And we are, and was sure that he expressed himself very skillfully” (Dal, 1898, 10, p. 47); “He will sort out every case for you, bone by bone, by joint, and, despite the command language that he set out essence, certificates, legalization And conclusion, he gave you a true, direct and clear view of the matter, and no hooks, tricks or confusions could lead him astray from the straight path. Nothing entertained similar work attention, nothing could make him lose sight of the most essence; in a word, clear and correct concept, stated in the wildest, commanding language, was the inevitable consequence of any such work of Ivan Ivanovich” (ibid., p. 49); “If they wanted to appease him in advance, if they offered him money for a wrong deed, then he, shaking his head and taking a drink of tobacco with a special grimace, said calmly: “Wait, my goodness, we haven’t gotten there yet.” to the very essence“... If the matter came to an end and was not resolved to the satisfaction of the annoying petitioner, then Ivan Ivanovich explained to him frankly: “Please don’t bother us in vain,” he said: “this is not such a matter; We, for our part, have finished, processed the very essence and they didn’t leave you a single loophole below...” (ibid., pp. 49-50); “If the matter was decided, in the opinion of Ivan Ivanovich, incorrectly, and especially without observing even the outward legality, then Ivan Ivanovich, sagging his shoulder blades and putting his neck back in the collar, shook his snuff-box and used to say: “Those, just think, are brave in the world.” People essence - It’s not even that they fear God, but they don’t fear anyone!’ And if such a decision was the result of a skillful forgery and was surrounded properly references and arguments, then Ivan Ivanovich admired this matter, smiled, analyzed it carefully, mentally paved for himself a direct path to the very essence and concluded: “Here is the science for you, our brother...” (ibid., p. 50); “On the one hand, it will approach nepotism; on the other hand, he will creep up with zealous requests and chatter; from the third, he will turn up through third hands with an appropriate gift and, thus ascending to his Excellency himself, essence“, without skipping a single degree or stage, he completed the work and, having feasted on the victory, went to bed”; "...He was gifted in highest degree the ability to go into all the details of other people's needs and concerns, to grasp by touch, at the first reception, the most essence things..." (ibid., p. 53); “Here, for example, is how he began to explain himself to his godfather, Akulina, after talking a lot with Khristinka: “Akulina Petrovna! We had a case, mother, that’s how it is essence: I’m walking, that is, from the transport, so, under the fence: I wanted to check on some business: and it was getting a little dark, I must admit; suddenly, mother, a dog snorts from under your feet; after all, there’s a dog, and that’s it. I look; what a parable! where does she come from here - the dog is not essence importance, but it has nowhere to come from...” (ibid., p. 54); “Without realizing it, mother, Akulina Petrovna, the very essence you can't figure it out; First we’ll figure it out and try it on, and then it won’t take long to cut it off”; “Residence is revealed to him: let him be on my bread until the very essence will remain..." (ibid., p. 55).

Thus, in the form essence it was as if the foundation of predicability was laid, the foundation of a statement about something, the core of the logical determination of the essence of something. Exactly behind the word essence followed by an indication of the essential features included in the concept being defined. It is curious that in V. I. Dal’s story the word essence is used sometimes in the masculine form, sometimes in the feminine form, although feminine clearly prevails. It is necessary to remember that in substantiated use There is The same fluctuations are still observed in regional Russian dialects.

Noun essence, having taken shape in a certain social environment or in a strictly limited range of styles of written and book speech, gradually enters the active vocabulary of the Russian literary language of the first three decades of the 19th century.

Wed. in the “Diary” of A. V. Nikitenko (February 10, 1826); “In general, we don’t like to dwell on objects and go deeper into them. essence"(Russian antiquity, 1889, February, p. 304). In the same “Diary” (August 8, 1834): “There [in St. Petersburg] we have a lot of fuss, but they only care about clearing papers, about their rapid circulation, to the point but no one gets to the things” (Russian antiquity, 1889, August, pp. 296-297). In N. Kukolnik’s “Diary” (September 10, 1841) about the libretto of Glinka’s opera “Ruslan and Lyudmila”: “The whole essence V literary respect- a common connection... If the music were good, who cares about poetry” (Glinka, p. 488). From F. M. Dostoevsky in the novel “Humiliated and Insulted”: “... finally, among various exclamations, circumlocutions and allegories, the real essence...". In F. M. Dostoevsky’s article “The Whistle” and “Russian Messenger” (1861): “Impressions accumulate little by little, penetrate the cardiac cortex with development, penetrate into the very heart, into the very essence and shape man." In M.E. Saltykov-Shchedrin’s review of “New Poems by A. Maikov” (1864): “Life claims to become an exceptional subject for art, and, moreover, not festive, serenely idyllic and sweet, but also everyday, bitter, hurting the eyes parties. Moreover, she claims that in these last aspects lies the most “ essence“human poetry...” In I. S. Turgenev in “Literary and Everyday Memoirs” (1868): “I believe, on the contrary, that we are at least in seven waters of mine, - our, Russian essentially can’t be taken out of us”; “Friends and mentors of Belinsky, who passed on to him all essence and all the juice of Western science, often they themselves understood it poorly and superficially”; “To him [Kraevsky. - IN. IN.], for example, someone from Belinsky’s circle would bring a new poem and begin to read, without prefacing his sacrifice with a single word, what it consisted of essence poem and why it was read”; “Yes, he [Belinsky] felt Russian essence like no one else."

In Turgenev’s story “Enough” (1865): “The scary thing is that there is nothing scary, that the most essence life is petty and uninteresting - and beggarly flat.” In the novel “Smoke”: “I’m probably ready to agree that by investing foreign essence V own body, we can’t possibly know in advance what we’re putting in: a piece of bread or a piece of poison?” (chapter 5).

In “The Diary of an Old Doctor” by N. I. Pirogov: “But what would happen to all of us if our mind constantly delved into and pondered the very essence ourselves and everything around us?”; “In the present, I cannot guarantee that I will be able to grab main feature, main essence my real worldview” (Pirogov N., 2, p. 56, 5).

Wed. from A.I. Levitov in the essays “Moscow’s “rooms sneb Ilya””: “... the punitive old man knocked Zakhar off his feet, grabbing him, as they say, in the food, or in the very essence"(Levitov, 4, p. 43).

But even in the 60s the word essence It didn't seem quite normal yet. Thus, V.V. Krestovsky in “Petersburg Slums” emphasizes it in italics: “No matter how much you [the reader] strain your attention and your powers of observation, wanting to penetrate into essence prison life, prison morals - you will hardly be able to notice any truly characteristic, essential feature. (...) Internal essence, that is, everything that is jealously hidden from the official gaze of the authorities will remain unknown to you, you will not see the other side of the coin...” (Part 4, Chapter 11).

WITH mid-19th V. noun essence is included in the norm of the lexical system of Russian literary speech.

Published together with sketches about words writing And feature article, under the general title “From the history of Russian literary vocabulary” in the book. “Reports and communications of the Institute of Linguistics of the USSR Academy of Sciences” (1959, No. 12). The archive preserves the manuscript (20 pages of different formats).

It is printed according to the text of the publication with the addition of one example (from Turgenev’s novel “Smoke”), written out by the author later on a separate card, with a number of necessary amendments and clarifications.

About the word essence V.V. Vinogradov also mentions in his “Essays...”: “The norms of stylistic divisions are unsteady and unstable. Many of those words that in the literary language of the previous era were classified as colloquial become “book”, for example: everyday life, domestic, exist, initiative(meaning `initiative'), essence, strife, build, distinct, verbatim, root, ritual, counterweight, petty tyrant..." (Vinogradov, Essays, 1982, p. 428).

About the word essence see also the commentary to the article “Impression”. - IN. L.

373 See E. Dickenmann. Untersuchungen über die Nominalkomposition im Russischen, 1934. Wed. also Frenkel's review of this book in Zeitschrift für slaviche Phililogie, 1936, Bd. 12, N. 3-4.

374 Ushakov’s dictionary (4, p. 599) provides examples of the use of this word from the works of Turgenev (“He understood better than anyone what the whole essence"") and from F. M. Dostoevsky’s speech about Pushkin (Pushkin “at once, in the most apt, most insightful way, noted the very depths of our essentially») .

375 See: V. A. Pogorelov. Slovenian Psalter // Izv. ORYAS AN, 1908, vol. 13, book. 1, p. 457.

376 Slavia, 1927, Ročn. 5, seš 3. pp. 453-454.

377 Ibid., p. 454.

378 Wed. also article: E. A. Vasilevskaya. From the history of Russian word formation // Uch. zap. State ped. Institute named after Lenin, vol. LХХХIX, Department of Russian. lang., vol. 6, M., 1956, p. 35-47.

V. V. Vinogradov. History of Words, 2010

See what “ESSENCE” is in other dictionaries:

essence- 1, and... Russian spelling dictionary

essence- The essence: є... Explanatory Ukrainian dictionary

In literature, the word theme has two meanings:

Selected and meaningful life material that corresponds to the ideological position of the author;

Features of life taken for the plot.

By artificially depicting life, the author of the work touches on different sides of one issue. From an ideological point of view, the thematic vein of the work is characterized by its complexity. Any work can be called multi-themed and problematic. If we take as an example the novel “Eugene Onegin” by A.S. Pushkin, then, while reading it, one set of questions arises about the main character, about each of minor hero, another range of questions, etc. Each character has his own character, which interacts with other characters, and again poses new questions to the readers. Let's return to the same example, Pushkin in his work touches on many problems, among which, noble intelligentsia, and its isolation from the people, the peasantry, romantic nuances and much more. As a result, all these questions are combined into one general theme: “The personality crisis of the 19th century among the nobles.”

The general theme and problems of the work are hidden behind a large number of questions that form its content. Each work has central problem, on which the author focuses his opinion and evaluates it. At the same time there is the main problem, which brings together small, partial problems around itself, which ultimately form the problematic of the work.

Under the idea of ​​a literary work lies the combination of all the components of its content, themes, ideological meaning depicted life. When studying a work, it is impossible to call the answer to the main question inherent in the meaning of the work its idea. This approach conceals the problem of simplification. It often happens that the author of a work does not know the answers to the questions he poses. It happens that the work itself presents a question for its solution. For example, the German writer Goethe never explained the ideas of his famous work“FAUST,” as he said, “I myself don’t know how to express it.” It should be noted that the thematic basis of the work represents, figuratively speaking, the “core of the work” from which various questions posed arise. Based on the theme of the work, the author usually selects the idea and characters of the work. It is important to note that the idea is selected first, and then the character is based on it.

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