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nominative theme(nominative representation, segment) - a figure of speech, in the first place of which is an isolated noun in the nominative case, naming the topic of the subsequent phrase. Its function is to arouse special interest in the subject of the statement and enhance its sound:

1. Winter!.. The peasant, triumphant, renews the path on the firewood ... (A. S. Pushkin)
2. Ah, France! There is no better place in the world! (A. S. Griboyedov)
3. Moscow! How much has merged in this sound for the Russian heart, how much has resonated in it. (A. S. Pushkin)

The first part of the nominative theme may include:

• combination of words;
• a few suggestions.

“Teacher and student ... Remember that Vasily Andreyevich Zhukovsky wrote on his portrait, presented to the young Alexander Pushkin: “To the winner-student from the defeated teacher.” The student must certainly surpass his teacher, this is the highest merit of the teacher, his continuation, his joy, his right, even illusory, to immortality ... ”(Mikhail Dudin).

In this example, the nominative construction "Teacher and student ..." is the name of the topic of further reasoning. These words are the key words of the text and determine not only the topic of the statement, but also the main idea of ​​the text itself.

Thus, similar constructions that precede the text are called the nominative representation, or the nominative topic. Nominative representations (themes) are logically stressed, and in speech such constructions are distinguished by a special intonation. This speech figure undoubtedly makes the statement expressive.

Punctuation marks for nominative topics

The nominative of the topic (representation) as a syntactic construction isolated from the sentence whose topic it represents is separated by such punctuation marks that correspond to the end of the sentence: dot, exclamation or question mark, ellipsis.

Each punctuation mark introduces a corresponding intonational and semantic connotation:

1. Word! Language! It is necessary to write about this not short articles, but passionate appeals to writers, extensive monographs, the most subtle studies (K. G. Paustovsky);
2. Moscow, Siberia. These two words sounded the name of the country (A. T. Tvardovsky);
3. Cranes... Overwhelmed with work, far from the gloomy fields, I live with a strange concern - to see cranes in the sky (A. I. Solzhenitsyn);
4. Cold and wild expanses!.. How long ago were these words spoken for the first time and were they spoken by someone, or did they always soundlessly and imperiously, like a spirit, stand over Siberia, descending longing and anxiety on a traveler? (V. G. Rasputin);
5. Bullfinches! How did I not notice them before! (A. I. Solzhenitsyn);
6. Lunin... No, I cannot help but dwell here on the fate of this great compatriot (Vl. Chivilikhin);
7. Golden Rose of Shamet! It partly seems to me a prototype of our creative activity (K. G. Paustovsky);
8. Ural! The testament of centuries and together is a harbinger of future times, and it enters our souls, like a song, with a mighty bass! (A. T. Tvardovsky).

Most often, dots are used (to emphasize the moment of reflection, pause) and an exclamation point (expresses expressiveness), a combination of an exclamation mark and ellipsis is also often used.

see also

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Links

• www.svetozar.ru/lingvo/syntax/11.shtml
• www.hi-edu.ru/e-books/xbook142/01/index.html?part-021.htm
• Simakova E. S. Russian language. Express tutor to prepare for the exam. The expressiveness of Russian speech. - M.: AST, 2009. - 94 p.

figures trails

An excerpt characterizing the nominative theme

As soon as Natasha, who was sitting at the head of Prince Andrei, found out about the arrival of Princess Marya, she quietly left his room with those quick, as it seemed to Princess Marya, as if with cheerful steps, and ran to her.
On her excited face, when she ran into the room, there was only one expression - an expression of love, boundless love for him, for her, for everything that was close to a loved one, an expression of pity, suffering for others and a passionate desire to give herself all for in order to help them. It was evident that at that moment not a single thought about herself, about her relationship to him, was in Natasha's soul.
The sensitive Princess Marya, at the first glance at Natasha's face, understood all this and wept on her shoulder with sorrowful pleasure.
“Come on, let’s go to him, Marie,” Natasha said, taking her to another room.
Princess Mary raised her face, wiped her eyes, and turned to Natasha. She felt that she would understand and learn everything from her.
“What…” she began to question, but suddenly stopped. She felt that words could neither ask nor answer. Natasha's face and eyes should have said everything more clearly and deeply.
Natasha looked at her, but seemed to be in fear and doubt - to say or not to say everything that she knew; she seemed to feel that before those radiant eyes, penetrating into the very depths of her heart, it was impossible not to tell the whole, the whole truth as she saw it. Natasha's lip suddenly trembled, ugly wrinkles formed around her mouth, and she, sobbing, covered her face with her hands.
Princess Mary understood everything.
But she still hoped and asked in words in which she did not believe:
But how is his wound? In general, what position is he in?
“You, you ... will see,” Natasha could only say.
They sat for some time downstairs near his room in order to stop crying and come in to him with calm faces.
- How was the illness? Has he gotten worse? When did it happen? asked Princess Mary.
Natasha said that at first there was a danger from a feverish state and from suffering, but in the Trinity this passed, and the doctor was afraid of one thing - Antonov's fire. But that danger was over. When we arrived in Yaroslavl, the wound began to fester (Natasha knew everything about suppuration, etc.), and the doctor said that suppuration could go right. There was a fever. The doctor said that this fever was not so dangerous.
“But two days ago,” Natasha began, “it suddenly happened ...” She restrained her sobs. “I don't know why, but you'll see what he's become.
- Weakened? lost weight? .. - the princess asked.
No, not that, but worse. You will see. Ah, Marie, Marie, he's too good, he can't, can't live... because...

When Natasha, with a habitual movement, opened his door, letting the princess pass in front of her, Princess Marya already felt ready sobs in her throat. No matter how much she prepared herself, or tried to calm down, she knew that she would not be able to see him without tears.
Princess Mary understood what Natasha meant in words: it happened to him two days ago. She understood that this meant that he suddenly softened, and that softening, tenderness, these were signs of death. As she approached the door, she already saw in her imagination that face of Andryusha, which she had known since childhood, tender, meek, tender, which he had so rarely seen and therefore always had such a strong effect on her. She knew that he would say to her quiet, tender words, like those that her father had said to her before his death, and that she could not bear it and burst into tears over him. But, sooner or later, it had to be, and she entered the room. Sobs came closer and closer to her throat, while with her short-sighted eyes she more and more clearly distinguished his form and searched for his features, and now she saw his face and met his gaze.
He was lying on the sofa, padded with pillows, in a squirrel-fur robe. He was thin and pale. One thin, transparently white hand held a handkerchief, with the other, with quiet movements of his fingers, he touched his thin overgrown mustache. His eyes were on those who entered.

"Nominative representation"

The design "nominative representation" (A. M. Peshkovsky) is similar in form to an appeal. However, it does not contain an appeal to the interlocutor. It does not conclude messages either. "Nominative representation" only names the object or phenomenon, which will be discussed further: Work! Everything was full of them around now(Paust.). Without a subsequent sentence that concludes a definite statement, the "nominative representation" does not and cannot have an independent meaning. In the context, it is often emphasized that the "nominative representation" is only a word, not a sentence: Siberia! Moscow! These two words sounded the name of the country(TV). "Nominative representation" as if warns of the significance of what will be said about this subject. Therefore, the use of "nominative representation" is mainly characteristic of poetic speech, where it is an expressive and emotional means: Siberia! Forests and mountains together, enough land... (TV); Moscow! How much in this sound for the heart of the Russian merged(L.).

In poetic speech, it is not easy to distinguish "nominative representations" from treatment (personification): the form is the same, both constructions are emotional and figurative. To distinguish between them, it is important to take into account the fact that when referring to the context there is a direct or indirect reference to the 2nd person, and when "nominative representation" - to the 3rd person. Wed: Ural! Testament of the ages and together - a harbinger of future times... and into our souls, like a song, he enters with a mighty bass(TV) - "nominative representations"; Ural! Today I am driving past, and something clenched in my chest: I leave you behind, as if my dear land.(TV) - personification; a careful analysis shows a difference in their meaning: in the first case Ural! sounds like a meaningful warning about the following statement, evokes an idea of ​​the corresponding phenomenon.

Introductory constructions

The meaning of introductory constructions is devoid of lexical specificity, individuality - it has an abstract grammatical character. Introductory constructions serve to express various kinds of assessments of the content of the sentence. For example: Obviously, in the box jumped some kind of spring(Paust.) - introductory word obviously expresses the grammatical meaning of the assumption.

Introductory constructions are not included in the structure of the sentence, are not part of it and do not represent independent sentences. However, this does not mean that they are indifferent to the proposal and that their omission does not change anything (as is often argued in school practice). When the introductory construction is eliminated, the sentence loses the grammatical shade that it expressed, and, consequently, the content takes on a slightly different character. Yes, proposal Without you, probably, i would die(M. G.) when eliminating the introductory construction, acquiring a categorical character (I'd be dead without you) changes significantly; but its main content, grammatical structure, composition of members and relations between them remain unchanged.

Introductory constructions in the sentence stand out intonationally. They are usually pronounced in a lowered tone and are separated by pauses from the members of the sentence. If the introductory construction is included in the middle of the sentence, then its intonation "opens": Soldiers of hardships of loneliness, apparently, didn't feel(Sh.). In a letter, introductory constructions are distinguished by commas, sometimes by dashes. The composition of the introductory structures can be:

• 1) single words: Man, working in this room, apparently, was a pedant(Sim.);
• 2) phrases: He smelled of gasoline. But apparently, it was a tractor driver(Paust.);
• 3) offers: Beta was considered smart, wore pince-nez and, as they said, I even wanted to enroll in a course(Kupr.).

However, introductory constructions of different composition perform the same functions, so we will use the term "introductory constructions", which combines introductory words, phrases and sentences.

By value, introductory structures are divided into the following groups:

• 1) indicating the degree of reliability of the message;
• 2) expressing an emotional assessment of the message;
• 3) indicating the source of the message;
• 4) evaluating the way of expressing thoughts;
• 5) indicating the degree of commonness / unusualness of the stated facts;
• 6) addressed to the interlocutor in order to attract or arouse his attention;
• 7) indicating the relationship between parts of the statement.
• 1. Introductory constructions, indicating the degree of authenticity with t and messages, evaluate the content of the sentence as indisputable, as expected or possible.

With the meaning of indisputability, such introductory constructions are used as undoubtedly, of course, of course, without a doubt, without any doubt, a fact, of course and etc.: The museum was, of course, closed(Paust.); The doctor was indeed lying on the couch.(Cupr.); The reason for this, no doubt, was moral and physical overwork.(Kupr.).

Possibility or suggestion is expressed by introductory constructions apparently. seems to be supposed. perhaps, perhaps, maybe/ go to all probabilities and others: U yav- there was a small queue at the bus stop, it seems that people with suitcases were already desperate to wait for the bus(Sim.); " Maybe it's time to continue the rehearsal?" Lidochka reminded(M. G.); Now, in all likelihood, whirlwinds, whirling and dragging dust, dry grass and feathers from the earth, rose to the very sky.(Ch.).

• 2. Introductory constructions expressing the emotional evaluation of the message include words that name feelings: happiness, joy, sadness, shame etc. They can be combined with words indicating who is feeling, i.e. who owns the emotional evaluation of the content: to my shame, to his chagrin, to her happiness and others. Introductory constructions may also include words denoting completeness, the degree of manifestation of a feeling or its assessment (to my great chagrin, to his unexpected joy and etc.): An hour ago, to his joy, one of the bosses called him from a new place and said that he would return here soon. with a group of workers(Sim.); Unfortunately, I must add that in the same year Paul passed away.(T.); His horse, to my true surprise, ran very well.(T.); Finally, to our indescribable joy, Yermolai returned(T.).
• 3. Introductory constructions indicating the source of the message and I include the words opinion, guess, words etc. They can be combined with words that clarify who owns the opinion, etc. and to whom, therefore, the message is attributed (in my opinion, in his words, in our assumption, as we believe; to my mind , your way and etc.): In your , all this is trifles, trifles,//about understand that there are so many of these little things ...(Ch.); Ivan Ilyich sat in the cabin for about three hours, thinking of how to explain to Dasha his according to his understanding vulgar and obsessive act(A. T.); O Kukushkin himself, who was in his opinion, a big scoundrel, Malinin thought angrily that this one would get out(Sim.); In young age, According to him, he even sailed on schooners carrying Kherson cherries(Paust.).
• 4. Introductory structures to tell the truth, to tell the truth, to be honest, to be honest and others evaluate the way of expressing thought: Speaking between us they almost caulked you into Karelian[front] (sim.); More, confess, the soil is good, otherwise it happens - a rock(TV); Strictly speaking, he has not commanded a division since peacetime(Sim.).
• 5. Introductory structures happens, as usual, as usual, as a rule, happens, as usual, as usual and others indicate the degree of commonality of the stated facts: Yermolai shot, as always, victorious, I'm pretty bad as usual (T.); However, cherish that, happened lied for a laugh, never lied for a lie(TV); Gerasim, burst into the house with his burden, and Mu-mu, as usual, left waiting for him(T.). Introductory constructions of this type are few. They indicate the repetition, periodicity of reported facts or, conversely, their randomness, singularity.
• 6. Introductory constructions addressed to the interlocutor in order to arouse his attention, cause his response to the statement, are distinguished by the most obscure and indefinite meaning. These are the constructions: as you know, you know, you know, you understand, you see, if you please see (outdated), judge for yourself, agree etc. They are close to particles. Their use is often caused by the agitation of the speaker or the inconsistency of his thoughts: However, you know I felt sad ... It's hard somehow(M. G.); After all, judge for yourself, to steal some document, bill of exchange, etc. from the case - a matter of minutes!(Ch.); Yes, I'm a hero... And he gives me comic roles. It's ridiculous agree! (M. G.); Hey, throw another spoon like this, I'm the second, brother, I'm fighting a war for a century(TV); ... Shoemaker Alyosha was taken to the unit. lay down, understand, in the middle of the street, playing the harmony and yelling...(M. G.).
• 7. Introductory constructions, indicating the relationship between the parts of the statement, are close in their meaning to unions. They can indicate the following of some facts after others when listed ( Firstly Secondly etc.; finally and etc.): Krasnov slipped away from a direct answer, offering in return a joint campaign against Tsaritsyn, for

Togo, to, First of all. take over the largest strategic center and, Secondly, holding him, connect with the Ural Cossacks(III) ; #about, First of all, sick, really, was in despair; and secondly, young tell the truth, leli felt good for her(T.).

Introductory constructions against, vice versa, however and etc., truth(with a hint of concession) indicate the opposition of the content of the sentence to the previous statement: Kaluga village, against. mostly surrounded by forest(T.); [Bobrov] quietly found his hat and cautiously walked out onto the porch. his departure, however. g / tyak no one would notice(Kunr.); Exactly one day has passed, and Sintsov again stood in front of the same district committee building. Truth, the building was no longer quite the same: glass flew out in half of the windows(Sim.).

Introductory constructions therefore, therefore, it follows, therefore and others can show that the content of the sentence follows logically from the previous statement as its consequence: I fell asleep at midnight. Means, ya white chasa tyak the earth has changed dramatically[snow fell] (Paust.).

With the help of an introductory construction, a conclusion, generalization, conclusion can also be expressed. (shpak, in general, in this way etc.): Wu willow it has long been a habit to tease Bobrov with his horse, to to which he was so attached. In general, in the house of Zinenok, they always teased someone with something(Kupr.).

Introductory constructions have a complex system of meanings. Their use in speech is not only justified, but absolutely necessary. However, the immoderate and incorrect use of introductory constructions (for example, such as say, imk to tell, to example, understand etc.) makes speech dissonant, tongue-tied, dull, irritating listeners, and sometimes incomprehensible.

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• NOMINATIVE in Ozhegov's Dictionary of the Russian Language.
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• RUSSIAN SOVIET FEDERAL SOCIALIST REPUBLIC, RSFSR in the Great Soviet Encyclopedia, TSB.
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The modern Russian language has a number of expressive syntactic constructions. Expression is a special linguistic phenomenon, which consists in emphasizing, highlighting one or another segment of speech against a neutral background. The most important means of syntactic expression are intonation and the location of segments of speech. Often they are joined by various repetitions. Expression usually interacts with such linguistic phenomena as emotionality, stylistic coloring, etc., and serves them.

Expression is an important beginning in a language, directly related to its communicative nature.<…>

Attention is drawn to a group of syntactic constructions that could be called double notation constructions, or segmented constructions.<…>. The most famous representative of these constructions is defined in Russian grammar as "nominative representations".

The nominative representation is a noun in the nominative case or a phrase headed by this form (sometimes headed by a quantitative numeral), having an independent intonation and naming the subject of subsequent speech or thought - in order to highlight it, emphasize it, draw attention to it.

The concept of nominative representation was first clearly formulated by A. M. Peshkovsky<…>

Peshkovsky explains this construction on a psychological basis, noting that it denotes isolated representations of objects, and classifying it as "words and phrases that do not form either sentences or their parts." This interpretation of Peshkovsky has found its way into many manuals on syntax; they usually say that the nominative representation names the object or phenomenon, "the idea of ​​which arises in the mind of the speaker."<…>It can be argued that the word, even appearing in the analyzed construction, continues to correlate with the concept, without acquiring an individual visual-sensory character. It follows from this that the term "nominative representations" is unfortunate due to its connection with the psychology of representations and needs to be replaced. Instead, one can turn to another term "nominative theme", which more accurately reflects the essence of this construction without the indicated psychologism.

The nominative theme stands out as a special language formation in terms of a combination of features. Consider an example:

Aviation... It, like in a mirror, reflects the work of our people, their fantastic leap into the future (Koms. Pravda, July 9, 1961).

Word aviation in the function of the nominative theme, it is intonationally separated from the next sentence, pronounced with independent intonation and forms a phrase. In the sentence following this phrase, there is a combination of the 3rd person pronoun she is with a pretext in, referring us to the previously used word aviation and denoting the same concept as the word aviation. Therefore, in this passage, the same concept is denoted twice. This is done in order to highlight, emphasize a certain element of the statement following the nominative topic, in order to emphasize the theme of this statement. As a result, a greater expressiveness of speech is created.

The nominative theme in our example cannot be considered a member of the next sentence. Firstly, because this nominative is sharply emphasized intonationally. Secondly, because there is no case correspondence between the nominative of the topic and the pronoun corresponding to it, which, for example, is typical for the connections of the application and the word being defined.

The essence of constructions, including nominative themes, is successfully revealed from the standpoint of the theory of the actual division of the sentence.<…>

The nominative theme, anticipating the theme of the next sentence, emphasizes it, highlights it, creates a special tension, a mood of expectation. If we consider the nominative theme together with the subsequent sentence, then we can say that in this peculiar, segmented statement, the theme is indicated twice, and again most often with the help of pronouns. Therefore, it seems inaccurate to us that the sentence following the nominative topic contains only a rheme and the entire complex statement is divided into a theme (specially highlighted) and a rheme. The sentence following the nominative of the topic in itself highlights the topic and the rheme, but the topic of this sentence receives a secondary designation here: it received its primary designation in the previous construction. As a result of this double designation of the topic, the expression of the statement is created, which is easily detected by comparing the construction of interest to us with the usual one: Aviation, like a mirror, reflects the work of our people, their fantastic leap into the future. This sentence no longer has the expressiveness that is observed in the first case.

The nominative theme is pronounced with a special intonation of the phrasal type, with the help of which it is separated from the next sentence and receives significant independence.

The punctuation marks that are placed after the nominative theme do not accurately convey its intonation pattern. Most often in this case there is an ellipsis, for example: Italians ...

It is impossible not to fall in love with this people (V. Nekrasov, First Acquaintance).

The nominative topic may be followed by an exclamation mark, for example: Whirlpool! This word was often pronounced in the Stupin family (L. Lench, Black shoulder straps).

A combination of an exclamation point and an ellipsis, for example: Stanislavsky!.. This name is dear to every cultured person (“Soviet Culture”, January 17, 1963).

Sometimes a full stop is put, for example: Theater. This word is associated with the earliest impressions of childhood (V. Kataev, Surprise).

There may be a dash, for example: “Tampere Street” - this is how the people of Kiev called one of the new highways of Darnitsa ... (“Pravda”, March 3, 1963); Man! - This word is deduced in golden letters in the book of the great laws of modernity, the program for building the happiest world on earth - the CPSU Program ("Come, Pravda", December 4, 1962).

A comma can also stand, for example: The logic of thinking, he believed it! (V. Grossman, For a Just Cause).

Let's try to determine the intonation associated with the ellipsis. The "Grammar of the Russian Language" of the Academy of Sciences of the USSR notes that the nominative theme can be pronounced: 1) with an intonation of incompleteness, 2) with an exclamatory intonation. Obviously, the ellipsis corresponds to the intonation of incompleteness. However, observations show that the intonation of the nominative theme differs from the typical case of the intonation of incompleteness characteristic of interrupted speech. For example: I did not speak much and slowly. His voice... But special mention must be made of his voice (V. Katanyan, Vladimir Yakhontov); Mother, sorting out the bed, angrily kneaded the pillows with her fists, and father ... Father sat at the table, smoked and, frowning his tufted eyebrows, blew the smoke with force so that it spread like a swirling stain over the table top (S. Nikitin, The smell of hay).

Here the intonation breaks off at such notes, which are recognized as middle, and not final; this is uncharacteristic of the intonation that highlights the nominative theme.

The nominative theme, for all its independence, is closely connected with the subsequent sentence, relies on it. It is this connection, in which the auxiliary function of the nominative theme, its non-independence, is revealed, which often makes it possible to distinguish the named construction from the nominative sentence - a syntactically completely independent statement. In the sentence following the nominative topic, as indicated above, in most cases there is a secondary designation of the same concept with or without pronouns.

Let's single out three cases.

1. The sentence contains a correlative pronoun - by itself or in combination with a noun. This phenomenon is usually called anaphora, or reprise. The pronoun can stand in them. case or in any other: the case correspondence of the two topics is not necessary. For example:<…>Kamenka... Kyiv, Raevsky... If only a short message could be sent there! (I. Novikov, Pushkin, in exile); Literature and science ... Both here and there, fantasy is needed ... (Lit. Newspaper, July 18, 1955).

2. The sentence contains the same noun or its synonym - without a pronoun. For example: And Maglidze thoughtfully said: - A feat! What is a feat? Very interesting! (B. Lavrenev, Feat); Russian word! How joyful it is in the soul when in the books of our writers you find a sweeping, seething and burning word (S. Sergeev-Tsensky, A writer's life must be a feat)<…>.

3. The sentence contains only the most general designation of what is indicated by the nominative topic, without the participation of pronouns. For example: War and Peace! There is no more important problem now ("Lit-ra and Life", September 2, 1962); Motherhood! What can be higher than a mother's love for her child, what can be more sacred than a woman's right to become a mother (Lit. Newspaper, Oct. 6, 1962)<…>.

In some cases, the nominative topic is not followed by a statement correlating with it; this statement, however, is assumed, it is, as it were, reduced, goes into subtext. Then the nominative theme is distinguished only by intonation, taking into account the function of the analyzed phrase based on the context data. For example: He left only her [daughter Masha], he had no one else in the world. The son failed, and he has long been indifferent to him. But Masha, Masha! (V. Kaverin, Fulfillment of desires)<…>.

Thus, for a nominative theme, in typical cases, the presence of a lexical correlate in the following sentence is typical. And above all the pronominal correlate. However, anaphoric pronouns can also follow nominative sentences. Therefore, sometimes there is a difficult problem of distinguishing between nominative themes and nominative sentences. This problem usually arises when we encounter nouns or noun phrases with the meaning of place and time. As is known, these meanings are typical for nominative sentences, but they can also be inherent in nominative themes. For example: Paris! Noisy, as in every city, the platform. Crowds of people. Flowers flash in the air (A. Safronov, Moscow - Prague - Paris); Paris! This amazing city conquered everyone (A. Vertinsky, A quarter of a century without a homeland. France). In the first passage we find a nominative sentence, and in the second a nominative theme.

Accounting for correlative pronouns makes it possible to distinguish between nominative topics and address. Appeal, naming the addressee of the speech, the interlocutor of the speaker, usually correlates with the pronouns of the 2nd person; the nominative theme, being one of two designations for one subject, cannot be correlated with pronouns of the 2nd person; it is usually associated with 3rd person pronouns. The problem of distinguishing between these constructions arises when we encounter rhetorical references in personification.

Here are passages in which the first nominative formation is the nominative of the topic, and the second is an address:

Russian literature!... What a deep, vast and inspiring concept this is!..; Oh, Russian literature! I bow before you (V. Yakhontov, The Way of the Actor); - Youth, youth! Where the wind blows, the ion bends there ... (S. Sergeev-Tsensky, Cannons started talking)<…>.

Examples with appeals: Quote! What troubles are you capable of doing as an instrument of the dogmatic mind! (E. Kazakevich, Blue Notebook); Borodino field, Borodino field ... It seems that there is nothing in you that strikes the eyes ... (O. Bergolts, About the day of Borodin)<…>.

To characterize the nominative theme, its connections with the subsequent sentence are very important, they reveal the essence of this construction. However, the connections of the nominative theme with the previous sentences are also interesting.

The nominative theme can be combined with the technique of repetition. A word or phrase that forms a nominative theme is sometimes a repetition of the elements of the previous sentence (without change or with a change in form).<…>

The combination of a nominative theme with repetition sharply enhances the expressiveness of speech. Here are examples with replicas-repeats that have signs of a nominative theme: -Yes, but here, as long as Anna... “and you don't feel the need for light...- Light! he said contemptuously. “What need can I have of light? (L. Tolstoy, Anna Karenina)<…>.

The nominative of the topic, being lexically and functionally related to the following sentence, is nevertheless not a member of this sentence.<…>

The nominative theme, having the same structure as the nominative sentence, does not form sentences: it lacks the predicative categories of modality, tense and person. The nominative theme is pronounced with a special, independent intonation, forms an intonational whole, that is, a phrase. However, the intonation in the nominative theme performs an emphatic and emotional function, but not a predicative one. The nominative theme is a kind of companion of the next sentence, for the sake of which it is formed. Such syntactic formations also include appeals that are at the beginning of the narrative and are intonationally independent (for examples, see earlier).

The peculiarity of the nominative theme is revealed especially clearly when comparing it with other constructions of double designation, with segmented sentences.

In the function of the nominative theme, in some cases, constructions are used that are outwardly similar to the sentence. This function and special intonation transform these constructions, deprive them of the properties of a sentence. Traces of nominative sentences in the nominative theme are especially noticeable when it includes a chain of nominative formations that form a whole picture from individual details. For example: Native nature! Moscow evenings and Leningrad nights, the sound of the sea surf and the heady smell of pine needles ... We absorb love for our native nature with mother's milk (“Come, Pravda”, June 21, 1959); ...the former owner of this village house... apparently dated Garibaldi. Garibaldi! The sky of Italy, the trip to Rome, the air saturated with the smell of olive bark, the land of dreams, poems and poverty! Garibaldi lives here, in a cramped room... (K. Paustovsky, Cordon "273")<…>.

Let us turn to the lexical meaning of nominative themes.

<…>The nominative theme can draw attention either to what is indicated by words (to objects or concepts), or to the words themselves, to words as such. From the nominative theme itself, it is impossible to know its direction. It is defined in the next sentence. From this it follows that we can speak of two types of nominative themes - objective and verbal. It would seem that the allocation of these categories is unlawful, since it is not reflected in the nominative theme itself. But there are reasons for such a distinction. Any word and combination of words in verbal supposition is equated to a noun in it. case, therefore, in the role of the nominative theme (verbal) there are not only nouns, but also other parts of speech, a wide variety of segments of speech.

Examples of a subject and verbal nominative theme: Kapron ... Light, durable, elegant garments made from it won the appreciation of the widest sections of the population (“Izv.”, Feb. 25, 1959)<…>.

Examples of a verbal nominative that is not a nominative: On foot, on foot ... Who, except for a soldier, will understand this word? (K. Simonov, Smoke of the Fatherland); It's time! With this word I began My travel notebook (A. Tvardovsky, Beyond the distance - distance)<…>.

The lexical range of the nominative theme is extremely wide.

In the nominative theme, only pronouns are not used as such, in their intended purpose, because they are secondary designations. Atypical for the nominative theme, especially the subject, words and combinations with the meaning of evaluation, characteristics; they also refer to the previous statement (for example: well done, handsome, eccentric, clever etc.).

The nominative theme has a specific stylistic fixation. It is widely used both in the artistic style and in the newspaper and journalistic style, and in various newspaper genres.

The nominative theme is often used in solemn, rhetorical speech; combining in different ways with the technique of repetition (repeating a word from the previous sentence, repeating a word in one row), combining with particles and interjections, the nominative theme is able to express various feelings, is a vivid emotional construction.

The nominative theme is only one of the constructions among a diverse group of dual-designation constructions, or segmented constructions. The peculiarity of the nominative theme becomes especially noticeable when compared with related formations.

Consider the most important segmented structures.

1. In colloquial speech, there are often sentences in which, at first glance, there are two subjects: the first is a non-pronominal noun, the second is a pronominal noun. For example: - Bread, it grows on its own, but coal must be mined ... (M. Sholokhov, They fought for their homeland); German, he was always greedy for foreign land (M. Bubennov, White Birch); - Cats ... they are pleasant, - Ilya Ignatich said uncertainly and shuddering (L. Leonov, The Road to the Ocean).

This construction is pronounced with a special intonation: the whole sentence is divided into two parts, which are separated by a pause, less than between independent sentences; the first part is pronounced with an increase in tone, the second begins with a decrease in tone; the whole sentence at the same time has a single intonational pattern, represents an intonational unity.

When analyzing the considered segmented construction, the question arises of distinguishing between a segment - a topic and a separate application of a special type. In Russian, there are sentences with a separate application, standing before the pronominal subject. Outwardly, these two designs are very similar, but in their nature they are different.

Examples with a separate application: An excellent organizer, a great connoisseur of the taiga and goldsmithing, he had an extraordinary sense of smell to unravel where the gold is hidden (V. Shishkov, Gloomy River)<…>.

Separate applications, unlike segments, have adverbial meaning and are characterized by an additional connection with the predicate (semi-predicative). Unlike segments, they usually have the value of evaluation, characteristics.

A segment acts as a member of a sentence when it enters a chain of syntactic links, and its links go in two directions - with a correlate pronoun (parallel link) and with some other member of the sentence (subordination).

If the speaker seeks to specifically highlight the topic of his utterance, then a construction is formed with the nominative of the topic, which differs from the segment that is part of the sentence in that it sharply separates intonation from the next sentence, and such a separation can be inherent only to them. case. Usually every segment in them. case can be converted to nominative themes. For example: Vladislav! He stood, shifting his bowler hat to one side, showing off a brightly polished shoe (V. Bakhmetiev, At the Threshold); The mountains! They now surrounded Fazlur from all sides (N. Tikhonov, White Miracle).

2. The construction in which the first designation (theme-segment) includes a subordinate clause is close to the considered noun-pronominal construction. For example: And the thought that he could be guided by this interest, that he would seek reconciliation with his wife to sell this forest, this thought offended him (L. Tolstoy, Anna Karenina); His life, which began (so miraculously in his reminiscences) with a huge church porch ... and with his mother's voice, in which the familiar flinty path shone a thousand times and the star spoke to the star - this life was filled with new, ever new meaning with each hour. Kataev, Father); But the so-called personal life, which I never paid attention to, for some reason I now remember it more and more clearly (A. Gladilin, First Day of the New Year).

This design is used in book styles, primarily in the artistic style.

3. In the artistic style, there is a construction with the reverse (compared to the previous one) arrangement of elements: first, the personal pronoun of the 3rd person is given in the sentence, and at the very end, with a sharp separation from the pronoun, the noun follows. For example: It seemed very fast, this frivolous plane (K. Paustovsky, Italian records); He did not promise them good, this day ... (L. Leonov, Thief); He was very tall, this professor... (M. Slonimsky, Strela).

It is in this construction that anticipation, i.e., anticipation, “anticipation” can be seen. The pronoun here clearly refers not to nouns already named, but to those that still need to be named.<…>The noun (one or with related words) plays the role of an application with a clarifying function. It can come directly after a pronoun (in which case there is no segmentation). For example: He, this wonderful world, truly for the first time Charmed her, like a miracle of miracles (N. Zabolotsky, Childhood).

A noun can be used in the indirect case with a pronoun in the same case. For example: You can only wander around them, along these squares, embankments and streets ... (V. Nekrasov, First Acquaintance).

The construction acquires a segmented character when the noun is separated from the pronoun by other members of the sentence, with a distant location.

4. A segmented construction can consist of a noun and a combination of a demonstrative pronoun that with union and in a particle function. For example: Taisiya, and she knows her calling: to bake pies with fish (B. Gorbatov, Merchant Lobas); The clock - and those here were on deck ... (E. Kazakevich, Heart of a friend).

Such a construction (by stylistic tonality - neutral) usually has a concessive meaning: an object or phenomenon, seemingly incompatible with what is said about them in the future, due to certain reasons, becomes carriers of the attribute indicated below. Combination and that corresponds in value to the amplifying particle even and sometimes team up with her. For example: Even the prickly and suspicious Lerhe, and he unconditionally trusted Sebastian ... (E. Kazakevich, House on the Square).

The intonational division of this construction can lead to the formation of a nominative theme.

5. Among the segmented constructions, one can probably include sentences that are usually considered as sentences with a subject, a zero connective and a nominal part (a noun in their case) with particles This or here. For example: Stanislavsky is not only yesterday's day of art. This is his present and tomorrow (Pravda, January 17, 1963)<…>.

With intonation dismemberment. the case in this construction is easily converted into nominative themes. For example: First love! This is by no means a statistical concept... (B. Brainina, Tale of Trust); Youth! This is eternal restlessness, passion, the ability to break all sorts of dogmas in the name of science (Lit. Newspaper, May 16, 1961).

6. In the Russian language there is a curious syntactic construction, the peculiarity of which is that to the noun in it. case at the beginning of a sentence, using a particle here a segment is added, similar to a subordinate clause, headed by a "union word", which can perform various syntactic functions. For example: Tsvetukhin - that's who is destined to experience the still timid passion of young people (K. Fedin, First Joys); Man - that's who architecture should obey ("Lit. newspaper", February 20, 1960)<…>.

<…>Before us are segmented structures. The intonational division here is so great that in it. case, you can see the nominative theme. Sometimes this is reflected in punctuation as well. For example: Betrayal! This is what ruined France (E. Petrov, The Fall of Paris).

7. Segmented are sentences in which a number of homogeneous members are sharply separated from the generalizing word. This is observed in cases where there is no case match between the row and the generalizing word, or when the sentence following the row belongs to interrogative or exclamatory sentences with special words. For example:<…>The babble of youth, the steady light of electric ceiling lamps, the dim gleam of the violins - how far away everything was! (E. Kazakevich, Star).

With a significant intonational division in these constructions, a nominative theme is formed. For example: Fairy tales, legends, epics - about heroes, about boots-walkers, about carpets-planes, tablecloths-self-collections, about living water ... How many people's thoughts, dreams and dreams are embedded in them, how many bright hopes! (“Izv.”, January 4, 1960).

8. In modern Russian, the infinitive can act in the position of the nominative topic<…>. For example:<…>Fly! This is even now his biggest dream, his most passionate desire (Izv., March 16, 1962)<…>.

Thus, along with the nominative theme, the infinitive of the theme stands out in Russian - with the same features of use, with the same stylistic tone.

We have considered various segmented constructions in modern Russian. From what has been said, the following conclusions can be drawn.

1. A segmented construction consists of two parts: a segment, which is a highlighted and underlined topic, and a stem (main part) with a pronominal correlate of the topic. In the main part of the construction, the theme (the indicated pronominal correlate) and the rheme are distinguished.

Depending on the sequence of the segment and the correlate, two types of construction are distinguished: reprise and anticipation.

2. Segmented construction - a bright expressive construction that exists (in its various manifestations) in different styles of the language. A segmented construction corresponds to a sentence that is identical in terms of verbal composition without segmentation.

At its core, a segmented construction is a conversational construction generated by the patterns of live speech.

The nominative theme is a bookish construction, often with a rhetorical, sublime coloring. But it arises on the basis of a segmented sentence as a result of transformation, the intonational dislocation of the latter.

3. The segmented construction is closely related to sentences that have a parallel connection in their composition.

A parallel connection is a connection that is observed between the members of a sentence, denoting the same thing, but in different ways, and combined intonationally or unions without their dependence on each other in morphological form.

A segmented construction differs from a sentence with an ordinary parallel connection in the order of the elements, intonational division and, in some cases, the absence of a formal correspondence of parts with the same subject relatedness.

There are different degrees of isolation of the segment up to its allocation into a special phrase (nominative theme).

A segmented sentence is a single intonational whole, a phrase. It can be divided into two phrases and converted into a construction with a nominative theme. Given the close connection of these syntactic formations, they can be called segmented constructions with double notation.

Similar information.