How landscapes helps to understand the internal state of Oblomov. Landscape and its functions in the novels of I.A. Goncharov
Introduction The Nature of the Chip The Four Pores of Love Conclusion
Introduction
Goncharov's work Oblomov is a socio-psychological novel written in the middle of the 19th century. The book tells about the fate of the Russian bourgeoisie Ilya Ilyich Oblomov, a personality with a fine mental organization, who was unable to find his own place in the rapidly changing world of contemporary Russia. A special role in disclosure ideological meaning the novel is played by the author's image of nature - in "Oblomov" landscapes are a reflection of the inner world
hero, are closely related to his feelings and experiences.
The nature of Oblomovka
The most striking landscape of the novel is the nature of Oblomovka, perceived by the reader through the prism of Ilya Ilyich's dream. The quiet nature of the village, far from the hustle and bustle of cities, attracts with its calmness and serenity. There are no dense frightening forests, no restless sea, no high distant mountains or windy steppes, no fragrant flower beds, only it smells of field grass and wormwood - according to the author, a poet or dreamer would hardly be satisfied with the unpretentious landscape of this area.
The soft, harmonious nature of Oblomovka did not require peasants to work, which created a special, lazy mood of life in the entire village - the measured course of time was interrupted only by changes of seasons or weddings, birthdays and funerals, which just quickly receded into the past, being replaced by the tranquility of the pacifying nature ...
Oblomov's dream is a reflection of his childhood impressions and memories. Dreamy Ilya, from an early age, perceived the world through the beauty of Oblomovka's sleepy landscapes, wanted to explore and learn the world, but the excessive care of the parents led to the fading of the active principle in the hero and contributed to the gradual absorption of that “Oblomov” measured rhythm of life, which for him, already an adult, became the only correct and pleasant one.
Four pores of love
Nature in the novel "Oblomov" has a special semantic and plot load. First of all, it reflects the state of the hero. A fragile branch of lilac, which the girl gives to Ilya Ilyich, becomes a symbol of tender feelings between Olga and Oblomov, to which he replies that he loves lilies of the valley more, and Olga, upset, drops the branch. But on the next date, as if accepting the girl's feelings, Oblomov comes with the same twig. Even at the moment when Ilya Ilyich tells the girl that “the flower of life has fallen out,” Olga again picks off a lilac branch for him as a symbol of spring and the continuation of life. During the heyday of their relationship, the quiet summer nature seems to favor their happiness, her secrets, special meanings are revealed to the lover. Describing Oblomov's state, the author compares his happiness with the beauty of a delightful summer sunset.
Nature appears completely different at the moments when Oblomov begins to doubt the bright future of their love, comparing them with rainy weather, a gray sky covered with sad clouds, dampness and cold.
At the same time, Olga notices that the lilac has already departed - as if their love has departed. The distance of the heroes is emphasized by the depiction of an autumn landscape, flying leaves and unpleasantly screaming ravens, when the heroes can no longer hide behind the fresh green foliage, comprehending the secrets of living nature and their own soul. The parting of the lovers is accompanied by a snowfall, under which Oblomov falls - spring love, the symbol of which was a gentle branch of lilac, finally dies under a snow blanket of cold.
The love of Oblomov and Olga seems to be a part of that distant “Oblomov” life, familiar to Ilya Ilyich. Starting in spring and ending in late autumn, their feelings become part of the natural course of time of living nature, the change of seasons from inception and flowering to extinction and death, followed by a new birth - Oblomov's love for Agafya and Olga for Stolz.
In the finale of the novel, the author describes the landscape of a modest cemetery where Oblomov is buried. As a reminder of the hero's wonderful feeling, a lilac planted by friends grows at the grave, and it smells of wormwood, as if the hero has returned to his native Oblomovka.
Conclusion
The landscape in the novel "Oblomov" performs the leading semantic and plot-forming functions. A subtle sense of nature, the flow of its natural time and inspiration by each of its manifestations in the work is available only to the reflective, dreamy Oblomov and Olga in love. After marriage, when depicting the life of a girl with Stolz in the Crimea, Olga unconsciously for herself loses that ability to feel every manifestation of nature that she had during her relationship with Oblomov. The author seems to be trying to show the reader that, despite the speed of the urbanized world, a person is not subject to the natural change in the cycles of nature - fluid and changing throughout human life.
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The first landscape appears before us in Oblomov's Dream. Pictures of nature are presented here in the spirit of a poetic idyll. The main function of these landscapes is psychological, we will find out in what conditions main character how his character was formed, where he spent his childhood. Oblomov's estate is a "blessed corner", a "wonderful land", lost in the outback of Russia. Nature there does not amaze us with luxury and pretentiousness - it is modest and unpretentious. There is no sea, high mountains, rocks and abysses, dense forests. The sky there hugs "closer ... to the ground ... like a parent's reliable roof", "the sun ... shines brightly and hotly for about six months ..." "Crawling over the pebbles." The stars there "friendly" and "friendly" blink from heaven, the rain "will pour briskly, abundantly, gaily jumping up, like large and hot tears of a suddenly delighted person", thunderstorms "are not terrible, but only beneficial."
In the scenes of love between Oblomov and Olga Ilyinsky, pictures of nature acquire symbolic meaning... So, a lilac branch becomes a symbol of this nascent feeling. Here they meet on the path. Olga picks a branch of lilac and gives it to Ilya. And in response, he notes that he loves lilies of the valley more, since they are closer to nature. In their relationship, trust, understanding appears - Oblomov is happy. And Goncharov compares his condition with the impression of a person from an evening landscape. “Oblomov was in that state when a man had just watched the setting summer sun with his eyes and was enjoying its ruddy traces, without taking his eyes off the dawn, without turning back from where the night was coming out, thinking only about the return of warmth and light for tomorrow”.
When Oblomov begins to be visited by doubts about the truth of Olga's feelings, this novel seems to him a monstrous mistake. And again the writer compares Ilya's feelings with natural phenomena. “What wind suddenly blew on Oblomov? What kind of clouds did it strike? Autumn pictures of nature intensify the atmosphere of the characters' distance from each other. They can no longer meet so freely in the forest or parks. And here we will note the plot-forming significance of the landscape. Here is one of the autumn landscapes: “The leaves have flown, you can see everything through and through; the crows in the trees scream so unpleasantly ... ". Oblomov invites Olga not to rush to announce the news of the wedding. When he finally leaves her, then snow falls and a thick layer covers the fence, wattle, ridges in the garden. "Snow fell in flakes and thickly covered the ground." This landscape is also symbolic. The snow here seems to bury the hero's possible happiness.
The landscape is simple and modest, painting a picture of a local cemetery in the novel's finale. Here again the motif of the lilac branch arises, which accompanied the hero at the climax of his life. “What happened to Oblomov? Where is he? Where? - At the nearest cemetery, under a modest urn, his body rests between the bushes, in a calm. Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely. It seems that the angel of silence himself guards his sleep. " Thus, the pictures of nature in the novel are picturesque and varied. Through them, the author conveys his attitude to life, love, reveals the inner world and the mood of the characters.
Ilya Ilyich Oblomov is one of the most controversial literary heroes... Goncharov's contemporaries immediately after the release of the novel branded the protagonist as an inveterate sloth and a purely negative character. However, over time, the look at him has changed, although a complete rethinking of the image of Oblomov is still ahead.
In all the everyday vicissitudes that meet on his way, Oblomov takes the passive side. He leaves, turns away from reality. Oto all everyday joys and fears, deeds and news, he prefers to plunge into dreams, fantasies and ... sleep. Oblomov's dream is the best, ideal (for Oblomov) world into which he seeks to get.
Descriptively, Oblomov's dream represents his past, childhood. Through a dream, a house is shown to us - Oblomovka, early years hero, his family and entourage. Father - Ilya Ivanovich, a landowner, a kind person, even good-natured. Mother is a loving and affectionate, caring hostess. Numerous aunts and uncles, guests and distant relatives who fill the house.
All, without exception, people in Oblomovka are simple and kind, do not suffer from diseases of the soul, do not worry about the meaning of life. Everyone living in this "blessed land" is interested only in themselves and their interests. " Happy people they lived thinking that it should not be otherwise, confident that all others live exactly the same way and that living differently is a sin. "
Nature is especially delightful in that land. It fully corresponds to the lifestyle of Oblomovka's people. Summer is hot and stuffy, filled with the scent of wormwood, winter is harsh and frosty, but predictable and constant. Spring comes in due time, there are generous warm rains, thunderstorms at the same time ... Everything in Oblomovka is clear, simple and somehow sincere. Even "the sky is closer to the earth in order to hug it tighter, with love." What kind of character can be nurtured in such a paradise?
(Little Ilyusha with a nanny in vivid dreams of an adult Oblomov)
To understand a person - find out what he dreams about and what he dreams about. In this sense, Oblomov's dream vividly and exhaustively gives us the opportunity to get to know the hero. One can argue for a long time whether Oblomov's life was good or right, but one thing remains unchanged. His soul. “Soul as pure as crystal” - this is how everyone who had the opportunity to look into Oblomov's heart and soul recalls him. Stolz, Olga, Agafya Matveevna, Zakhar - until the end of their lives they keep the bright memory of their friend. So can only negative character evoke such feelings in different, dissimilar people?
Is the life shown to us in Oblomov's dream bad? To some it will seem primitive and boring, someone will consider it the ideal of peaceful existence and being. Most people will probably lean towards the first category. Even the author, it seems, favors another, "active and fulfilling life", to the one presented to us by Stolz.
"The time will come, and brisk steps will be heard ... - this is thousands of Stolts will appear under Russian names, the old Oblomovka will leave." But then Goncharov's prediction came true, and the time came when everyone became entrepreneurs and businessmen. But people are still looking for the meaning of life, they are also unhappy with what fate gives them. Only now, not Oblomovs are waiting for the stolts, but the stolts are looking for kind, sincere Oblomovs. When will they finally meet? When will they be able to combine their strengths and abilities to create not a dream, but a real, real, wholesome life?
Oblomov's dream is not an ideal, not the perfection of life, not a goal of being to strive for. However, it is not necessary to deny it, to throw it away as unnecessary.
Introduction
Goncharov's work Oblomov is a socio-psychological novel written in the middle of the 19th century. The book tells about the fate of the Russian bourgeoisie Ilya Ilyich Oblomov, a personality with a fine mental organization, who was unable to find his own place in the rapidly changing world of contemporary Russia. A special role in revealing the ideological meaning of the novel is played by the author's portrayal of nature - in Oblomov, landscapes are a reflection of the hero's inner world, closely related to his feelings and experiences.
The nature of Oblomovka
The most striking landscape of the novel is the nature of Oblomovka, perceived by the reader through the prism of Ilya Ilyich's dream. The quiet nature of the village, far from the hustle and bustle of cities, attracts with its calmness and serenity. There are no dense frightening forests, no restless sea, no high distant mountains or windy steppes, no fragrant flower beds, only it smells of field grass and wormwood - according to the author, a poet or dreamer would hardly be satisfied with the unpretentious landscape of this area.
The soft, harmonious nature of Oblomovka did not require peasants to work, which created a special, lazy mood of life in the entire village - the measured course of time was interrupted only by changes of seasons or weddings, birthdays and funerals, which just quickly receded into the past, being replaced by the tranquility of the pacifying nature ...
Oblomov's dream is a reflection of his childhood impressions and memories. The dreamy Ilya, from an early age, perceived the world through the beauty of Oblomovka's sleepy landscapes, wanted to explore and learn the world around him, but the excessive care of his parents led to the fading of the active principle in the hero and contributed to the gradual absorption of that “Oblomov” measured rhythm of life, which for him, already an adult , became the only correct and enjoyable.
Four pores of love
The nature in the novel "Oblomov" carries out a special semantic and plot load. First of all, it reflects the state of the hero. A fragile branch of lilac, which the girl gives to Ilya Ilyich, becomes a symbol of tender feelings between Olga and Oblomov, to which he replies that he loves lilies of the valley more, and Olga, upset, drops the branch. But on the next date, as if accepting the girl's feelings, Oblomov comes with the same twig. Even at the moment when Ilya Ilyich tells the girl that “the flower of life has fallen out,” Olga again picks off a lilac branch for him as a symbol of spring and the continuation of life. During the heyday of their relationship, the quiet summer nature seems to favor their happiness, her secrets, special meanings are revealed to the lover. Describing Oblomov's state, the author compares his happiness with the beauty of a delightful summer sunset.
Nature appears completely different at the moments when Oblomov begins to doubt the bright future of their love, comparing them with rainy weather, a gray sky covered with sad clouds, dampness and cold. At the same time, Olga notices that the lilac has already departed - as if their love has departed. The distance of the heroes is emphasized by the depiction of an autumn landscape, flying leaves and unpleasantly screaming ravens, when the heroes can no longer hide behind the fresh green foliage, comprehending the secrets of living nature and their own soul. The parting of the lovers is accompanied by a snowfall, under which Oblomov falls - spring love, the symbol of which was a gentle branch of lilac, finally dies under a snow blanket of cold.
The love of Oblomov and Olga seems to be a part of that distant “Oblomov” life, familiar to Ilya Ilyich. Starting in spring and ending in late autumn, their feelings become part of the natural course of time of living nature, the change of seasons from inception and flowering to extinction and death, followed by a new birth - Oblomov's love for Agafya and Olga for Stolz.
In the finale of the novel, the author describes the landscape of a modest cemetery where Oblomov is buried. As a reminder of the hero's wonderful feeling, a lilac planted by friends grows at the grave, and it smells of wormwood, as if the hero has returned to his native Oblomovka.
Conclusion
The landscape in the novel "Oblomov" performs the leading semantic and plot-forming functions. A subtle sense of nature, the flow of its natural time and inspiration by each of its manifestations in the work is available only to the reflective, dreamy Oblomov and Olga in love. After marriage, when depicting the life of a girl with Stolz in the Crimea, Olga unconsciously for herself loses that ability to feel every manifestation of nature that she had during her relationship with Oblomov. The author seems to be trying to show the reader that, despite the speed of the urbanized world, a person is not subject to the natural change in the cycles of nature - fluid and changing throughout human life.
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Essay plan
1. Introduction. The originality of Goncharov as a novelist.
2. The main part. Landscape and its functions.
- Basic landscape features.
- The nature of the pictures of nature in "Oblomov's Dream".
- Correlation of seasons and natural rhythm of life.
- The motive of rest.
- The psychological function of the landscape in Oblomov's Dream.
- Symbolic natural details in scenes from the novel by Oblomov and Olga Ilyinskaya.
- Love and discovery by the heroes of the secret life of nature.
- Intuitive insight of the heroes.
- Autumn pictures of nature.
- The ending of the relationship of the heroes and a characteristic landscape.
- Pictures of nature and their role in the life of Stolz and Olga.
- The final landscape of the novel.
3. Conclusion. The role of landscape in the novel.
Picturesque style - characteristic Goncharov as a novelist. His descriptions - portraits, interiors, landscapes - are detailed, detailed, detailed. And in this the style of the writer is close to that of N.V. Gogol. Let's try to analyze the landscapes in the novel by I.A. Goncharova.
The functions of the landscape in the work are different. This is the background against which the action takes place, and the characterization of the character's state of mind, and the peculiar framing of the plot course, and the creation of a special atmosphere for the narrative.
The first landscape appears before us in Oblomov's Dream. Pictures of nature are presented here in the spirit of a poetic idyll. The main function of these landscapes is psychological, we find out in what conditions the main character grew up, how his character was formed, where he spent his childhood. Oblomov's estate is a "blessed corner", a "wonderful land", lost in the outback of Russia. Nature there does not amaze us with luxury and pretentiousness - it is modest and unpretentious. There is no sea, high mountains, rocks and abysses, dense forests. The sky there hugs "closer ... to the ground ... like a parent's reliable roof", "the sun ... shines brightly and hotly for about six months ..." "Crawling over the pebbles." The stars there "friendly" and "friendly" blink from heaven, the rain "will pour briskly, abundantly, gaily jumping up, like large and hot tears of a suddenly delighted person", thunderstorms "are not terrible, but only beneficial."
The seasons in this region are correlated with peasant labor, with the natural rhythm of human life. “According to the calendar, spring will come in March, dirty streams will run from the hills, the earth will thaw and smoke with warm steam; the peasant will throw off his sheepskin coat, go out into the air in one shirt and, covering his eyes with his hand, admires the sun for a long time, shrugging his shoulders with pleasure; then he will pull the cart overturned upside down ... or inspect and kick the plow lying idly under the canopy, getting ready for the usual work. " Everything in this natural cycle is intelligent and harmonious. Winter "does not tease with unexpected thaws and does not bend in three arcs with unheard-of frosts ...", in February, "one can already feel in the air the soft breeze of the coming spring." But summer is especially wonderful in this region. “There you have to look for fresh, dry air, filled with - not lemon or laurel, but simply the smell of wormwood, pine and bird cherry; there to look for clear days, slightly burning, but not scorching rays of the sun and almost three months of cloudless sky. "
Peace, tranquility, deep silence lie in the fields, quiet and sleepy in the villages scattered not far from each other. At the manor's estate, everyone falls into a deep sleep after a varied, plentiful dinner. Life flows lazily and unhurriedly. The same silence, calmness reigns there and in human morals. The circle of people's concerns does not go beyond the framework of simple everyday life and its rituals: christenings, name days, weddings, funerals. The time in Oblomovka is counted "on holidays, seasons, on various family and home occasions." The land there is "fertile": Oblomovites do not need to work hard, they endure work "as punishment."
It was in this land that the hero's childhood passed, here for long winter evenings he listened to nanny tales, epics, scary stories. In this atmosphere of a leisurely flow of life, his character was formed. Little Ilyusha loves nature: he wants to run into the meadows or to the bottom of a ravine, play snowballs with the boys. He is curious and observant: he notices that the shadow is ten times larger than Antipas himself, and the shadow of his horse covered the entire meadow. A child wants to explore the world around him, "to rush and remake everything himself," but his parents cherish and cherish him, "like an exotic flower in a greenhouse." Thus, those who seek the manifestation of power turn inward, fall and fade. And gradually the hero absorbs this unhurried rhythm of life, its lazy measured atmosphere. And gradually he becomes the Oblomov that we see in St. Petersburg. However, one should not think that this phrase has only a negative connotation. Both Oblomov's "dovish tenderness" and his moral ideals - all this was also shaped by the same life. Thus, the landscape here has a psychological function: it is one of the components that form the character of the hero.
In the scenes of love between Oblomov and Olga Ilyinsky, pictures of nature acquire a symbolic meaning. So, a lilac branch becomes a symbol of this nascent feeling. Here they meet on the path. Olga picks a branch of lilac and gives it to Ilya. And in response, he notes that he loves lilies of the valley more, since they are closer to nature. And Oblomov unwittingly asks for forgiveness for the confession that escaped him, attributing his feelings to the action of music. Olga is upset and discouraged. She drops a branch of lilacs to the ground. Ilya Ilyich picks it up and on the next meeting (for dinner at the Ilyinsky's) comes with this branch. Then they meet in the park, and Oblomov notices that Olga is embroidering the same lilac branch. Then they talk, and hope for happiness appears in Ilya's soul. He confesses to Olga that "the color of life is opal." And she again picks off a branch of lilac and gives it to him, denoting with it the "color of life" and her annoyance. In their relationship, trust, understanding appears - Oblomov is happy. And he compares his condition with a person's impression of an evening landscape. “Oblomov was in that state when a man had just watched the setting summer sun with his eyes and was enjoying its ruddy traces, without taking his eyes off the dawn, without turning back from where the night was coming out, thinking only about the return of warmth and light for tomorrow”.
Love sharpens all the feelings of the heroes. Both Ilya Ilyich and Olga become especially sensitive to natural phenomena, life opens up to them with its new, unknown sides. So, Oblomov notices that, despite the outer peace and quiet, everything in nature boils, moves, fusses. “Meanwhile in the grass everything was moving, crawling, fussing. There are ants running in different directions so bustling and bustling, colliding, scattering, in a hurry ... Here is a bumblebee buzzing near a flower and crawling into its cup; Here flies are clumping in a heap around a drop of juice that has come out on a crack in a linden tree; here is a bird somewhere in the thicket repeating the same sound for a long time, maybe calling another. Here are two butterflies, whirling around each other in the air, headlong, as in a waltz, rush around the tree trunks. The grass smells strong; an incessant crack is heard from it ... ”. In the same way, Olga discovers a hitherto unnoticed secret life nature. “There are the same trees in the forest, but a special meaning appeared in their noise: a living harmony reigned between them and her. The birds are not just chirping and chirping, but all are talking to each other; and everything speaks around, everything corresponds to her mood; the flower blooms, and she hears his breath. "
When Oblomov begins to be visited by doubts about the truth of Olga's feelings, this novel seems to him a monstrous mistake. And again the writer compares Ilya's feelings with natural phenomena. “What wind suddenly blew on Oblomov? What kind of clouds did it strike?<…>He must have dined or lay on his back, and the poetic mood gave way to some kind of horror. It often happens to fall asleep in the summer on a quiet, cloudless evening, with twinkling stars, and think how good the field will be tomorrow with morning light colors! How fun it is to go deep into the thicket of the forest and hide from the heat! .. And suddenly you wake up from the sound of rain, from gray sad clouds; cold, damp ... "Oblomov's experiences, perhaps, are far-fetched, he still loves Olga, but subconsciously begins to realize the impossibility of this union, to foresee the end of the relationship. And Olga begins to understand the same with her unmistakable feminine intuition. She notices that "the lilacs ... are gone, gone!" Love ends with the summertime.
Autumn pictures of nature intensify the atmosphere of the characters' distance from each other. They can no longer meet so freely in the forest or parks. And here we will note the plot-forming significance of the landscape. Here is one of the autumn landscapes: “The leaves have flown, you can see everything through and through; the crows in the trees scream so unpleasantly ... ". Oblomov invites Olga not to rush to announce the news of the wedding. When he finally leaves her, then snow falls and a thick layer covers the fence, wattle, ridges in the garden. "Snow fell in flakes and thickly covered the ground." This landscape is also symbolic. The snow here seems to bury the hero's possible happiness.
In the finale of the novel, the author draws pictures of southern nature, depicting the life of Olga and Stolz in the Crimea. These landscapes deepen the character of the heroes, at the same time they are given in contrast to the "Oblomov's Dream" in the novel. If the sketches of nature in "Oblomov's Dream" were detailed, and in places poetic, the author seemed to be happy to dwell on characteristic phenomena and details, then in the finale Goncharov limits himself only to describing the impressions of the heroes. “They often plunged into silent wonder in front of the eternally new and shining beauty of nature. Their sensitive souls could not get used to this beauty: the earth, the sky, the sea - everything awakened their feeling ... They did not greeted the morning indifferently; could not dully plunge into the gloom of the warm, starry, southern night. They were awakened by the eternal movement of thought, the eternal irritation of the soul and the need to think together, to feel, to speak! .. ". We see the sensitivity of these heroes to the beauty of nature, but is their life the ideal of the writer? The author avoids an open answer.
The landscape is simple and modest, painting a picture of a local cemetery in the novel's finale. Here again the motif of the lilac branch arises, which accompanied the hero at the climax of his life. “What happened to Oblomov? Where is he? Where? - At the nearest cemetery, under a modest urn, his body rests between the bushes, in a calm. Lilac branches, planted by a friendly hand, doze over the grave, and wormwood smells serenely. It seems that the angel of silence himself guards his sleep. "
Thus, the pictures of nature in the novel are picturesque and varied. Through them, the author conveys his attitude to life, love, reveals the inner world and the mood of the characters.
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