Andrei NARUSHEVICH,
Taganrog

A few questions about the animate/inanimate category

The category of animate/inanimate nouns is little mentioned in school textbooks of the Russian language, but meanwhile it is one of the most interesting linguistic phenomena. Let's try to answer some questions that arise when considering this category.

What is "animate" and "inanimate" object?

It is known that the assignment of nouns to animate or inanimate is associated with the division of the surrounding world by a person into living and inanimate. However, V.V. Vinogradov noted the "mythology" of the terms "animate / inanimate", since textbook examples ( plant, deceased, doll, people and etc . ) demonstrate the discrepancy between the objective status of the subject and its comprehension in the language. There is an opinion that animate in grammar means “active” objects identified with a person, which are opposed to “inactive” and, therefore, inanimate objects 1 . At the same time, the attribute "activity/inactivity" does not fully explain why the words dead man, deceased belong to the animate, and people, crowd, flock- to inanimate nouns. Apparently, the category of animateness/inanimateness reflects everyday ideas about the living and the inanimate, i.e. a subjective assessment by a person of objects of reality, which does not always coincide with the scientific picture of the world.

Of course, the “standard” of a living being for a person has always been a person himself. Any language keeps "petrified" metaphors showing that people from ancient times saw the world as anthropomorphic, described it in their own image and likeness: the sun came out, the river runs, the leg of the chair, the spout of the kettle and so on . Let us recall at least anthropomorphic gods or characters of lower mythology. At the same time, life forms different from humans: some invertebrates, microorganisms, etc. - are often ambiguously evaluated by ordinary native speakers. For example, as the survey of informants showed, to nouns sea ​​anemone, amoeba, ciliate, polyp, microbe, virus question asked regularly what? Obviously, in addition to signs of visible activity (movement, development, reproduction, etc.), the ordinary concept of a living being (“animate” object) also includes a sign of similarity to a person.

How is the animateness/inanimateness of a noun determined?

Traditionally, as a grammatical indicator of animation, the coincidence of the accusative and genitive forms in the singular and plural of masculine nouns is considered. (I see a person, a deer, friends, bears) and only in the plural of feminine and neuter nouns (I see women, animals). Accordingly, grammatical inanimateness is manifested in the coincidence of the accusative and nominative cases. (I see a house, tables, streets, fields).

It should be noted that the grammatical opposition of nouns by animateness/inanimateness is expressed not only in the form of a specific case: the difference in the forms of nouns in the accusative case leads to a difference and opposition of paradigms in general. For masculine nouns, on the basis of animateness/inanimateness, singular and plural paradigms are distinguished, and for feminine and neuter nouns, only plural paradigms, that is, each of the animate/inanimate categories has its own declension paradigm.

There is an opinion that the main means of expressing the animateness / inanimateness of a noun is the form of the accusative case of the agreed definition: “It is by the form of the agreed definition in the accusative case that the animateness or inanimateness of the noun in the linguistic sense of the word is determined” 2 . Obviously, this provision requires clarification: the form of the adjectival word should be considered as the main means of expressing animateness/inanimateness only in relation to the use of invariable words: see beautiful cockatoo(V. = R.); see beautiful coat(V. = I.). In other cases, the form of the adjectival word duplicates the meanings of case, number, gender, and animateness/inanimateness of the main word - the noun.

The coincidence of case forms (V. = I. or V. = R.) in the declension of allied words of the adjective structure (in a subordinate clause) can also serve as an indicator of animation / inanimateness: These were books, which I knew(V. = I.); These were writers, which I knew(B. = R.).

Feminine and neuter nouns, which appear only in the singular form (singularia tantum), do not have a grammatical indicator of animation / inanimateness, since these words have an independent form of the accusative case, which does not coincide with either the nominative or the genitive: catch swordfish, study cybernetics etc. Thus, grammatically, the animateness/inanimateness of these nouns is not determined.

What is the fluctuating grammatical indicator of animateness/inanimateness?

Let's look at a few examples: And from now on the embryo is called fruit(I. Akimushkin) - I saw in a flask embryo, swirling like a French horn(Yu. Arabov); science microbiology studies various bacteria and viruses(N. Goldin) - Bacteria can be identified by morphological properties(A. Bykov); Marrying a woman blows away with myself their dolls (I. Solomonik) - Before going to bed, you played again in my office. Feeding dolls (L. Panteleev). As you can see, the same words behave either as animate or as inanimate.

Variative forms of the accusative case of nouns germ, embryo, microbe, bacterium etc. are explained by the ambiguity of the assessment of the corresponding objects by the speakers. Usually these forms of life are inaccessible to observation, which causes the fluctuation of native speakers in attributing these objects to living or non-living.

Dolls are involved in the game (as well as magical) human activities. In children's games, dolls function like living beings. Dolls are bathed, combed, put to bed, that is, actions are performed with them, which in other conditions are aimed only at living beings. Game activity creates conditions for understanding dolls as objects that are functionally similar to living things (functionally animated). At the same time, dolls remain inanimate objects. The combination of signs of living and non-living causes fluctuations in the grammatical indicator of animation / inanimateness. Similar features are revealed by some names of game pieces: queen, ace, pawn and etc.: I took from the table, as I remember now, ace of hearts and threw it up(M. Lermontov) - By placing the cards take all the aces lying on top of the packs(Z. Ivanova).

Some animals have long been considered by people mainly as food (cf. the modern word seafood). For example, lobsters, oysters, lobsters, as V.A. Itskovich, “do not occur in Central Russia in a living form and became known first as exotic dishes and only later as living beings” 2 . Apparently, nouns oyster, squid, lobster and others were originally inclined only according to the inanimate type, the appearance of the accusative form, coinciding with the genitive form, is associated with the development of the meaning of ‘living being’, which is later in relation to the meaning of ‘food’: Boil squids, cut into noodles(N. Golosova) - Squids are boiled in salt water(N. Akimova); Local fishermen brought fish in the city: in spring - small anchovy, in summer - ugly flounder, in autumn - mackerel, fat mullet and oysters (A. Kuprin) - And are you eat oysters? (A. Chekhov) Interestingly, in the meaning of ‘food’, not only the names of exotic animals acquire grammatical inanimateness: fatty herring well soak, cut into fillets(M. Peterson); Processed pike perch cut into pieces(V.Turygin).

Thus, the fluctuation of the grammatical indicator of animateness/inanimateness is caused by the peculiarities of semantics, as well as the ambiguity of assessing the subject as living or inanimate.

Why nouns dead man and dead person animated?

Human understanding of living nature is inextricably linked with the concept of death. ‘Dead’ is always ‘being alive’, having previously possessed life. In addition, it is no coincidence that folklore is replete with stories about the living dead. Until now, one can find echoes of the ideas of our distant ancestors that a certain special form of life is inherent in the dead, that a dead person is able to hear, think, and remember.

Nouns dead person, deceased, departed and others denote dead people, i.e. possess the attribute ‘human’ – the most important for the meaning of animation. And here is the word dead body means ‘the body of a dead organism’, i.e. only the material shell (cf. expressions corpses of the dead, corpses of the dead). Apparently, this semantic difference explains the grammatical animation of the names of the dead and the inanimateness of the word corpse: How strong are the stones all in their callings, - When the dead covered watch over (K.Sluchevsky); BUT convene I am the ones I work for the dead Orthodox... - Cross yourself! call the dead for housewarming(A. Pushkin); Nastya only once, long before the war, had to see a drowned man (V.Rasputin); Teamsters throwing corpses on a sled with a wooden clatter(A. Solzhenitsyn).

Why words people, crowd, flock inanimate?

The listed words denote a certain set of living objects - people or animals. This set is understood as a single whole - a set of living beings, and this set is not equal to the simple sum of its components. For example, the attribute "set", expressing the idea of ​​quantity in the concept of "people", in the concept of "people" is combined with the idea of ​​quality - "the totality of people in their specific interactions". Thus, the common feature of the words of this group - 'collection' - turns out to be the leading one and forms the meaning of inanimateness. V.G. Gak connects the nouns under consideration with the category of a collective (quasi-animate) object: “Between animate and inanimate objects there is an intermediate group of collective objects consisting of animate units. Words denoting such objects ... can be conditionally called quasi-animate” 4 . The grammatical generalization of semantics is expressed in the morphological indicator of inanimateness (V. = I.): I see crowds, nations, flocks, herds etc.

Why are nouns denoting plants inanimate?

In the linguistic picture of the world, plants, which are a qualitatively different form of life than animals and humans, are not perceived as living organisms. The ability to move independently has long been recognized as one of the characteristic features of the living. As Aristotle pointed out, “the beginning of movement arises in us from ourselves, even if nothing has set us in motion from outside. We do not see anything like this in inanimate [bodies], but they are always set in motion by something external, and a living being, as we say, moves itself” 5 . The inability of plant organisms to move independently, the lack of visible motor activity and a number of other signs lead to the fact that in the mind of a person, plants, together with objects of inorganic nature, constitute an immovable, static part of the world. This is indicated by V.A. Itskovich: "... a living object is understood as an object capable of independent movement, so that plants are inanimate objects" 6 . Thus, the predominance of signs of the inanimate in everyday concepts of plants, as well as the nature of the labor activity of a person who has long widely used plants for various purposes, led to the fact that plants in most cases are perceived as inanimate objects.

How does the meaning of animate/inanimate manifest itself?

The attribute ‘living’ (‘non-living’) can be manifested not only in the meanings of nouns, but also in the meanings of indicative words. Indeed, the analysis showed that not only nouns, but also verbs and adjectives have the meaning of animateness/inanimateness in the language. This is manifested in the fact that verbs and adjectives can denote signs of objects that characterize these objects as living or inanimate. For example, the meaning of the verb read indicates that the action is performed by a person (person) and is directed to an inanimate object: read a book, newspaper, ad etc.

The existence of such semantic connections made it possible to build a classification of Russian verbs according to the presence in their meanings of an indication of the animateness / inanimateness of the subject and object of the action. This classification was developed by Prof. L.D. Chesnokova 7 . So, all the verbs of the Russian language can be divided into the following groups:

1) animated-marked - denote actions performed by living beings: breathe, dream, sleep and etc;
2) inanimate-marked - denote actions performed by inanimate objects: burn, crumble, evaporate and etc . ;
3) neutral - denote actions common to living and inanimate objects: stand, lie, fall and etc .

A similar division is observed among adjectives:

1) animate-marked adjectives denote signs of living beings: external signs, temperament, volitional qualities, emotional, intellectual and physical properties, etc.: lean, long-legged, lop-eared, phlegmatic, quick-tempered, kind, evil, intelligent, persistent, blind, talented etc.;
2) inanimate-marked adjectives denote signs of inanimate objects (phenomena) - spatial and temporal qualities and relationships, the properties and qualities of things perceived by the senses, signs in relation to the material of manufacture, etc.: liquid, rare, deep, spicy, sour, bitter, strong, thick, iron, glassy, ​​woody, marshy etc.;
3) neutral adjectives denote features that can be attributed to both living beings and inanimate objects - the most common spatial characteristics, color characteristics, evaluative characteristics, belonging, etc.: left, right, tall, small, heavy, white, red, good, mother's.

Thus, the animate/inanimate meaning of a noun is usually supported by animate or inanimate marked context elements. Otherwise, figurative meanings are updated, which ensures the semantic agreement of words.

So, for animate nouns in combination with inanimate-marked verbs, the metonymic transfer ‘work - author’ is most typical: Then the worker started read Brockhaus (M. Bulgakov); But anyway Doderlein necessary view... Here it is - Doderlein. "Operational Obstetrics"(M. Bulgakov).

For inanimate nouns, names can be transferred from inanimate objects to living ones: hungry bursa prowled through the streets of Kyiv and forced everyone to be careful(N. Gogol); Me saw off all warm and loving camera in full force, without party distinctions(E. Ginzburg); Prison doesn't like brave men(V.Shalamov). There are also many cases of occasional metonymic transfer affecting the semantics of the animate/inanimate substantive: - Fast! To the phone! A tube vibrated, fluttered, choked with anxiety, did not dare to speak fatal question. Only repeated with an interrogative intonation: “Is that you? It's you?"(E. Ginzburg); Once in the hospital I heard: “From the seventh ward nasal furuncle discharged» (V. Levy).

The semantic discrepancy in the aspect of animateness/inanimateness can be overcome due to the metaphorical transfer of the meaning of the noun. An example is the combination of inanimate nouns with animate-marked words, creating an artistic device of personification (personification): sitting on the forehead of a short man, Pimple with envy glanced on the foreheads of tall people and thought: “I wish I were in such a position!”(F.Krivin).

So, let's sum up. Animate and inanimate nouns designate not so much living and inanimate objects as objects, understood as both living and non-living. In addition, between the members of the opposition ‘thinkable as living / thinkable as inanimate’, there are a number of intermediate formations that combine the signs of the living and the inanimate, the presence of which is due to the associative mechanisms of thinking and other features of human mental activity, for example:

1) conceivable as having been alive ( dead person, deceased, departed and etc.);
2) mentally represented alive ( mermaid, goblin, cyborg and etc.);
3) conceivable as a semblance of a living ( doll, baby doll, jack, queen and etc.);
4) conceivable as a set of living things ( people, crowd, flock, herd and etc.).

Thus, the category of animate/inanimate nouns, like some other linguistic phenomena, reflects the anthropocentric setting of human thinking, and the discrepancy between the linguistic picture of the world and scientific understanding is another manifestation of the subjective factor in the language.

1 Stepanov Y.S.. Fundamentals of general linguistics. M., 1975. S. 130.

2 Miloslavsky I.G. Morphological categories of the modern Russian language. M.: Nauka, 1981. S. 54.

3 Itskovich V.A.. Animate and inanimate nouns in the modern Russian language (norm and tendency) // Questions of Linguistics. 1980, No. 4. S. 85.

4 Gak V.G. Verbal compatibility and its reflection in the dictionaries of verb control // Lexicology and lexicography / Pod. ed. V.V. Morkovkin. M.: Russk. yaz., 1972. S. 68.

5 Aristotle. Physics // Works in 4 vols. M., 1981. T. 3. S. 226.

6 Itskovich V.A.. Animate and inanimate nouns in the modern Russian language (norm and tendency) // Questions of Linguistics. 1980, No. 4. S. 96.

7 Chesnokova L.D.. Pronouns who, what and the semantics of animation - inanimateness in the modern Russian language // Russian Linguistics. Kyiv: Higher. school, 1987. Issue. 14. P. 69–75.

animated and nouns serve as the names of people, animals and answer the question who?(student, mentor, entertainer, peer).

Inanimate nouns serve as the names of inanimate objects, as well as objects of the plant world and answer the question what?(presidium, conference, landscape, mountain ash). This also includes nouns like group, people, crowd, flock, peasantry, youth, kids etc.

The division of nouns into animate and inanimate mainly depends on what object this noun denotes - living beings or objects of inanimate nature, but it is impossible to completely identify the concept of animation-inanimateness with the concept of living-inanimate. So, from a grammatical point of view birch, aspen, elm- nouns are inanimate, but from a scientific point of view, these are living organisms. In grammar, the names of dead people - dead man, deceased- are considered animate, and only a noun dead body- inanimate. Thus, the meaning of animateness-inanimateness is a purely grammatical category.

• animate For nouns, the accusative plural form is the same as the genitive plural form:

(v.p. pl. = r.p. pl.)

r.p. (no) people, birds, animals

c.p. (to love) people, birds, animals

• inanimate For nouns, the plural accusative form is the same as the plural nominative form:

(w.p. pl. = im.p. pl.)

i.p. (there are) forests, mountains, rivers

c.p. (see) forests, mountains, rivers

In addition, for animate masculine nouns of the II declension, the accusative case coincides with the genitive also in the singular, for inanimate nouns - with the nominative: I see a student, an elk, a crane, but a detachment, a forest, a regiment.

Most often, animate nouns are masculine and feminine. There are few animate nouns among neuter nouns. This is - child, person (in the meaning of "man"), animal, insect, mammal, creature ("living organism"), monster, monster, monster and some others.

Animated nouns, used in a figurative sense, decline: admire "Sleeping Beauty".

Inanimate nouns, used in a figurative sense, get the meaning of a person and become animated: the tournament brought together all the table tennis stars.

The names of toys, mechanisms, images of a person refer to animated nouns: she was very fond of her dolls, nesting dolls, robots.

The names of pieces in games (chess, cards) are declined like animated nouns: sacrifice a knight, take an ace.

The name of the gods, mythical creatures ( goblin, mermaid, devil, water) refer to animate nouns, and the names of the planets by the name of the gods - to inanimate: looking at Jupiter, they begged Jupiter for help.

For a number of nouns, there are fluctuations in the expression of the category of animation-inanimateness (in the names of microorganisms, in nouns, the image, type, character, etc.): consider ciliates and ciliates, kill bacteria and bacteria; create vivid images, special characters.

Animate and inanimate nouns
animated	Inanimate
names of living things	names of inanimate objects
	plant names
names of gods	names of the planets by the names of the gods
names of mythical creatures
names of figures in games
names of toys, mechanisms, human images
dead man, deceased	dead body
names of microorganisms
image, character

personification

personification

PERSONALIZATION (or personification) - an expression that gives an idea of ​​​​a concept or phenomenon by depicting it in the form of a living person endowed with the properties of this concept (for example, the image of the Greeks and Romans of happiness in the form of a capricious goddess-fortune, etc.). Quite often, O. is used in the depiction of nature, which is endowed with certain human features, “enlivened”, for example: “the sea laughed” (Bitter) or the description of the flood in Pushkin’s “The Bronze Horseman”: “... the Neva all night / rushed to the sea against the storm, / not having overcome their violent foolishness ... / and it became impossible for her to argue ... / The weather became more ferocious, / the Neva swelled and roared ... / and suddenly, like a wild beast, / on the city rushed.../Siege! Attack! evil waves, / like thieves, climb through the windows, ”etc.
O. was especially in vogue in precision and pseudo-classical poetry, where it was carried out consistently and extensively; in Russian literature, examples of such O. were given by Tredyakovsky: “Ride to the Island of Love”, (St. Petersburg), 1730.
O. in essence is, therefore, the transfer to the concept or phenomenon of signs of animation and is so. arr. kind of metaphor (see). Trails.

Literary encyclopedia. - In 11 tons; M .: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .

personification

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .

personification

PERSONALIZATION also personification(lat. Persona and facio), prosopopoeia(Greek Προσωποποια), is a stylistic term denoting the depiction of an inanimate or abstract object as animated. The question of how the personification corresponds to the real view of the poet on things goes beyond the limits of style and belongs to the field of worldview in general. Where the poet himself believes in the animation of the object depicted by him, one should not even speak of personification as a phenomenon of style, because then it is associated not with the methods of representation, but with a certain one, animistic outlook and worldview. The object is already perceived as animated and is depicted as such. It is precisely in this sense that many personifications in folk poetry must be interpreted when they refer not to devices, not to the form of expression, but to the animated object itself, i.e., to the content of the work. This is especially evident in any mythological creativity. On the contrary, personification, as a phenomenon of style, appears in those cases when it is applied as allegory, i.e. as such an image of an object that stylistically transforms his. Of course, it is far from always possible to establish with accuracy what order of personification we are dealing with, just as in a metaphor it is difficult to find objective signs of the degree of its real imagery. Therefore, stylistic research often cannot do without drawing on data from the field of individual poetic worldview. Thus, very many personifications of natural phenomena by Goethe, by Tyutchev, and by the German romantics should not be considered at all as a stylistic device, but as essential features of their general view of the world. Such, for example, are Tyutchev’s personifications of the wind - “What are you howling about, night wind, What are you so madly complaining about?”; a thunderstorm that “recklessly, madly suddenly runs into an oak forest”; lightning bolts, who “like deaf-mute demons, are talking among themselves”; trees that “tremble joyfully, bathing in the blue sky” - for all this is consistent with the poet’s attitude to nature, which is expressed by himself in a special poem: “Not what you think, nature is Not a cast, not a soulless face. It has a soul, it has freedom, it has love, it has a language, etc. On the contrary, in such works as fables, parables, and in various types of allegory (see), one should talk about personification as an artistic device. Compare, for example, Krylov's fables about inanimate objects ("Cauldron and pot", "Guns and sails", etc.)

Especially in cases of the so-called. incomplete impersonation, it is a common stylistic device used not only by poetry, but also by everyday speech. Here we are dealing, in fact, only with individual elements of personification, often so included in the everyday speech that their direct meaning is no longer felt. Compare, for example, expressions such as: “The sun is rising, setting”, “a train is coming”, “streams are running”, “moaning of the wind”, “howling of a motel”, etc. Most of these expressions are one type of metaphor , and the same should be said about their meaning in poetic style as about metaphor (see). Examples of stylistic personifications: “The air does not want to overcome its drowsiness ... The stars of the night, Like accusatory eyes, look at him mockingly. And the poplars, shy in a row, Shaking their heads low, How the judges whisper among themselves” (Pushkin); “Nozdryov had already stopped twirling a long time ago, but there was only one pipe in the hurdy-gurdy, very lively, in no way wanting to calm down, and for a long time it whistled alone” (Gogol); “A bird will fly out - my longing, Sit on a branch and begin to sing” (Akhmatova). The depiction of plants and animals in the image of people, as it is found in fairy tales, fables, animal epic, can also be considered as a type of personification.

A. Petrovsky. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925

Synonyms:

See what "Incarnation" is in other dictionaries:

Churches. Statue of the Strasbourg Cathedral Personification (personification, prosopopeia) of the trope ... Wikipedia

Prosopopoeia, incarnation, personification, anthropomorphism, animation, humanization, metaphor, representation, epitome, expression Dictionary of Russian synonyms. personification 1. humanization, animation, personification 2. see incarnation ... Synonym dictionary

PERSONIFICATION, personifications, cf. (book). 1. only units Action under ch. personify personify. The personification of the forces of nature among primitive peoples. 2. what. The embodiment of some kind of elemental force, a natural phenomenon in the form of a living being. God… … Explanatory Dictionary of Ushakov

personification- PERSONALIZATION is also a personification (lat. Persona and facio), prosopopoeia (Greek Προσωποποια), a stylistic term denoting the depiction of an inanimate or abstract object as animated. The question of how impersonation ... ... Dictionary of literary terms

Personification, the property of transferring the features of living beings to inanimate things and phenomena: human (anthropomorphism, anthropopathism) or animals (zoomorphism), as well as endowing animals with the qualities of a person. AT … Encyclopedia of mythology

- (prosopopoeia) a kind of metaphor, transferring the properties of animate objects to inanimate ones (Her nurse is silence ..., A. A. Blok) ... Big Encyclopedic Dictionary

PERSONIFICATION, I, cf. 1. see impersonate. 2. what. About a living being: the embodiment of some n. hell, properties. Plushkin O. avarice. O. kindness. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov

personification- PERSONALIZATION1, embodiment PERSONALIZED, embodied PERSONALIZE / PERSONALIZE, embody / embody PERSONALIZATION2, spiritualization, animation, humanization, personification, book. anthropomorphism ANIMATION, ... ... Dictionary-thesaurus of synonyms of Russian speech

personification- impersonation Occurs when an object pretends to be someone or something. [Karen Isaguliev's cryptographic dictionary www.racal.ru] Topics information technology in general Synonyms impersonation EN impersonation ... Technical Translator's Handbook

I; cf. 1. to Personalize (1 character). and personify. O. forces of nature. 2. Image of what l. elemental force, natural phenomena in the form of a living being. Dove about. peace. 3. what. The embodiment of an idea, concept, what kind of l. properties, qualities in human ... ... encyclopedic Dictionary

Books

• The personification of history. Issue 2. Rich people, Daria Prikhodko. In the collection “The Personification of History. The Rich” included twelve biographical essays, the heroes of which were: one of the richest residents of the United States ...

Animated objects

Animated objects

ANIMATED OBJECTS . Objects that have the ability to voluntarily move, i.e. people and animals, in contrast to inanimate objects and abstract or abstract concepts, i.e. signs of objects considered in abstraction from the objects themselves. In Russian. category O.P. on the one hand and inanimate. objects and abstract concepts, on the other hand, differ grammatically in that masculine nouns and adjectives in the singular that agree with them, and nouns and adjectives in the plural, which are the names of O.P., have one common form for the accusative and genitive cases, different from forms of the nominative case, and masculine nouns and adjectives in the singular and nouns and adjectives in the plural, which are the names of inanimate objects and abstract concepts, have a common form for the nominative and accusative cases, different from the genitive case. The grammatical distinction between nouns denoting animate objects and nouns denoting inanimate objects and abstract concepts exists in other Slavic languages, and is also known in some non-Slavic languages, for example, Scandinavian.

N.D. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925

See what "Animated objects" are in other dictionaries:

Animated objects- ANIMATED OBJECTS. Objects that have the ability to voluntarily move, that is, people and animals, in contrast to inanimate and abstract or abstract concepts, that is, signs of objects considered in abstraction from ... ...

animate objects- Objects that have the ability to voluntarily move, that is, people and animals, in contrast to inanimate objects and abstract or abstract concepts, that is, signs of objects considered in abstraction from the objects themselves. In Russian …

INANIOUS OBJECTS. Things or objects that do not have the ability to voluntarily move, that is, all objects except people and animals. See Animate Objects. Literary encyclopedia: Dictionary of literary terms: In 2 x vol. / Under ... ... Literary Encyclopedia

inanimate objects- INANIMATE OBJECTS. Things or objects that do not have the ability to voluntarily move, that is, all objects except people and animals. See Animate Objects... Dictionary of literary terms

inanimate objects- Things or objects that do not have the ability to voluntarily move, that is, all objects except people and animals. See Animate Objects... Grammar Dictionary: Grammar and linguistic terms

Noun endings- 1. In nouns that have a vowel and before case endings, the letter and is written in the prepositional singular (for feminine words also in the dative case), for example: about a genius, in Gogol's "Viya", on a billiard cue, sisters ... ... A guide to spelling and style

A guide to spelling and style

Gender of indeclinable nouns- 1. Words denoting inanimate objects. Indeclinable nouns of foreign origin, denoting inanimate objects, for the most part belong to the middle gender, for example: healing aloe, Scotch whiskey, ... ... A guide to spelling and style

1) The lexical and grammatical category of a noun, inherent in all nouns (with the exception of words used only in the plural), syntactically independent, manifested in their ability to combine with those defined for ... Dictionary of linguistic terms

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• Naughty child of the biosphere (part 1), V. R. Dolnik. What did the fore-humans who lived more than a million years ago think and feel? How to understand your own instincts and the instincts of other animals? This and much more is covered in this…

It is known that the assignment of nouns to animate or inanimate is connected with the division of the surrounding world by a person into living and inanimate. However, V.V. Vinogradov noted the "mythology" of the terms "animate / inanimate", since textbook examples ( plant, deceased, doll, people and etc . ) demonstrate the discrepancy between the objective status of the subject and its comprehension in the language. There is an opinion that animate in grammar means “active” objects identified with a person, which are opposed to “inactive” and, therefore, inanimate objects 1 . At the same time, the attribute "activity/inactivity" does not fully explain why the words dead man, deceased belong to the animate, and people, crowd, flock - to inanimate nouns. Apparently, the category of animateness/inanimateness reflects everyday ideas about the living and the inanimate, i.e. a subjective assessment by a person of objects of reality, which does not always coincide with the scientific picture of the world.

Of course, the “standard” of a living being for a person has always been a person himself. Any language stores "petrified" metaphors showing that people from ancient times saw the world as anthropomorphic, described it in their own image and likeness: the sun came out, the river runs, the leg of the chair, the spout of the kettle and so on . Let us recall at least anthropomorphic gods or characters of lower mythology. At the same time, life forms different from humans: some invertebrates, microorganisms, etc. - are often ambiguously evaluated by ordinary native speakers. For example, as the survey of informants showed, to nouns sea ​​anemone, amoeba, ciliate, polyp, microbe, virus question asked regularly what? Obviously, in addition to signs of visible activity (movement, development, reproduction, etc.), the ordinary concept of a living being (“animate” object) also includes a sign of similarity to a person.

How is the animateness/inanimateness of a noun determined?

Traditionally, as a grammatical indicator of animation, the coincidence of the accusative and genitive forms in the singular and plural of masculine nouns is considered. (I see a person, a deer, friends, bears) and only in the plural of feminine and neuter nouns (I see women, animals). Accordingly, grammatical inanimateness is manifested in the coincidence of the accusative and nominative cases. (I see a house, tables, streets, fields).

It should be noted that the grammatical opposition of nouns by animateness/inanimateness is expressed not only in the form of a specific case: the difference in the forms of nouns in the accusative case leads to a difference and opposition of paradigms in general. For masculine nouns, on the basis of animateness/inanimateness, singular and plural paradigms are distinguished, and for feminine and neuter nouns, only plural paradigms, that is, each of the animate/inanimate categories has its own declension paradigm.

There is an opinion that the main means of expressing the animateness / inanimateness of a noun is the form of the accusative case of the agreed definition: “It is by the form of the agreed definition in the accusative case that the animateness or inanimateness of the noun in the linguistic sense of the word is determined” 2 . Obviously, this provision requires clarification: the form of the adjectival word should be considered as the main means of expressing animateness/inanimateness only in relation to the use of invariable words: see beautiful cockatoo(V. = R.); see beautiful coat(V. = I.). In other cases, the form of the adjectival word duplicates the meanings of case, number, gender, and animateness/inanimateness of the main word - the noun.

The coincidence of case forms (V. = I. or V. = R.) in the declension of allied words of the adjective structure (in a subordinate clause) can also serve as an indicator of animation / inanimateness: These werebooks , which I knew(V. = I.); These were writers , which I knew(B. = R.).

Feminine and neuter nouns, which appear only in the singular form (singularia tantum), do not have a grammatical indicator of animation / inanimateness, since these words have an independent form of the accusative case, which does not coincide with either the nominative or the genitive: catch swordfish, study cybernetics etc. Thus, grammatically, the animateness/inanimateness of these nouns is not determined.