Main qualities of sense incarnation: on the example of the interpretation of M.Yu. Lermontov's poem “Rodina” (“Motherland”)

In article the phenomenon of sense of a literary work is studied. By means of the concept of incarnation the specificity of sense is established. The author states that the sense is embodied (incarnated) in the literary work in the form of the represented and verbally articulated reality (the characters’ world). At the same time the incarnation of sense realized through artistic creativity and its adequate reception, does not deny the meaning of life revealed to the characters, but makes it complete. With the help of M.Yu. Lermontov’s poem “Rodina” (“Motherland”) the author considers the main qualities of the incarnated sense. The article discovers and describes such qualities of the incarnated sense as: ontologization, subjectiveness and “visuality” (the focus on sensory perception), integrity and representativeness, continuity (contrary to discretization of conceptual interpretation), personalisation, co-existence (updating in the form of existence). The ontologization of sense in article is understood as follows: the sense is not proved in the literary work logically, but is approved ontologically: through the very existence of the life represented in the work. The subjectiveness and visuality of sense is disclosed in the work as “life exposed to public” (Ingarden). So the important qualities of the incarnated sense, closely interconnected, are, according to the author of article, its integrity (it is always the meaning of life as a whole, not as a single situation) and representativeness (the ability to be updated - as sense whole - in each part of the work). The continuity of the incarnated sense is determined by the fact that it cannot be semantically divided, and, therefore, cannot be fully “translated” into the language of generalization. The personalisation of sense is shown in it being updated in the work in a personality form. The co-existence of the incarnated sense is defined by the fact that in the work of art it is carried out in the form of being as “co-being” (a communicative situation).