Criticism of Vladimir Propp’s Theory on Genesis of Magic Fairy Tales’ Structure
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;s terrestrial life; 3) the death of the Saviour on the Cross; 4) Jesus Christs Resurrection as the victory over forces of death.
C. 1) Sinful life of people; 2) threat of eternal death to sinful mankind; 3) rescue of people in the Christ, revival in the Holy Spirit and getting of a prospect of an eternal life and a victory over the enemy death.
Even in this extremely simplified scheme we can fix the main motive of development of the big drama of eternal struggle of Life with Death as it has been presented in one of the forms of practically- religious ideology. Besides, the basic formula is represented in separate episodes of the Book (revival of Lazarus, revival of the daughter of a synagogue servant).
Revealing of a universal-cultural basis in literary consciousness and entertainment art was realized in this work through the CUB-analysis of such writings, as Ivan Bunins story A Light Breath, short stories of Marguerite de Navarre from the collection of stories The Heptameron, Anna Ahmatovas poems.
I have also analyzed short stories which Michael Bakhtin and Olga Frejdenberg used as examples. Besides at a level of „concepts” the given type of a discourse was examined by us on the material of a methodological reflection on the structure of works of art by Michael Bakhtin, Lеv Vуgotsky, Yuri Lotman and other researchers.
In the first named piece of literature the formula „life - death immortality” was reconstructed by Me at a level of a disposition, the key moments of that are oppositional pairs „childhood a tomb”, „sex with Malyutin murder”, „conversation on a light breath funeral”.
In wide meaning these pairs express a global opposition of life and death. A Light Breath it is a figuratively designed culmination category of universal-cultural structure of the text of this piece of literature at the basis of which there is the CUB immortality. Olga Meshcherskaya after her death, as well as Snow Maiden and Mauka (The Wood Song) "was dissolved" in the nature, but she did not totally disappear her „light breath” is now everywhere.
Except for a full representation in The Heptameron of the CUB and the codes, considered by Me, in these collected stories the basic world outlook formula also is precisely traced. The short story from examples of M. Bakhtin is regarded by him as a narration about a victory of forces of life over forces of death when the legionary who watched over a crucified robber, under food and drink consoles the widow directly on the tomb of her husband, and she for this pleasure releases from the pressure of grief and comes back to plenitude of life. This plot tells, he writes, about a continuous chain of victories of life over death.
The same universal-cultural structure underlies the short story of Giovanni Boccaccio, which was investigated by Olga Frejdenberg (enamoured of the wife of his comrade, the man rescues her, wrongly buried, and she gives birth to the child).
In the science-fiction the motive of increasing threat of a life with the following victory over danger of death is expressed in an unusual way. Frequently it is the description of invasion of enemy civilizations to the Earth, their encroachment on beautiful women, hunting of the aliens who have come back from the future, for children who aftertime become their enemies, consuming of people from within through penetration into their body of ugly extraterrestrial forms of a life, destruction of a genotype of people or manipulations with it, etc.
It is easy to see, that stereotyped schemes of science-fiction rotate around the basic formula of world view, opening it in forms of unusual sources of mortal danger to the person with a following victory of vital positive characters.
If we turn to novel, its universal-cultural substructure entirely entering a triad „life death revival” was extremely successfully and laconically outlined by J. Lotman. This author directly turns to consideration of this triad in that kind of it, in which it was realized in the Russian novel. Raskolnikov, Mitja Karamazov, and other characters of Feodor Dostoevsky recreate Муcola Gogols scheme from The Dead Souls where Tchitchikov goes to Siberia (a hell, death). Having passed a hell of Siberia, these characters "revive".
Already given short definition of specificity of the novel as a kind of a cultural discourse shows, that in its basis there is the same "eternal" universal-cultural scheme, which is filled with the concrete historical contents, caused by features of cultural-world outlook ideas of an epoch.
In my work the same scheme has been reconstructed on examples of works of Taras Shevchenko The Princess, Lesya Ukrainka The Wood Song, in Alexander Pushkin and Anna Ahmatovas verses, and also in plots of the tragedy Hamlet by William Shakespeare and doll performances, in operas of Giuseppe Verdi Aida and Mykola Lysenko Natalka-Poltavka, Alexander Dovzhenkos film The Earth, etc.
So, the received results have allowed to raise a level of universality of my hypothesis as it was found out, that not only the fairy tale structure, but also the structure of wide range of other texts has in the basis the system of the is universal-cultural meanings, organized in the basic formula „life death immortality”.
At the same time the analysis has allowed to affirm, that the given hypothesis has found its confirmation because there was explicated the reproduced effect when, basically, any cultural text has fallen under procedure of revealing in it of the CUB-structure.
6. Outlines of a new paradigm of the analysis of the origin of invariant structure of culture texts: “the universal-cultural version”
This chapter begins with a summary of historico-generative concept of Olga Frejdenberg about “metaphors of primitive consciousness” which is regarded by Me as a break of a paradigm „reality text”. Further its critical analysis and a universal-cultural interpretation are given. As a result, there was deconstructed the real contents of her concept. The basic idea, extracted from her concept, consists in that the structure of texts of culture is not the "representation" of reality. This structure is a product of creative spontaneous activity of our consciousness which actualizes during the process of synthesis of deep meanings of texts those world outlook invariants which are determined by the basic vital purposes of the person. As a result, it has been ascertained, that "metaphors" offered by her are either categories of ultimate bases (for example, group of metaphors of "Death"), or world outlook codes (group of metaphors "Meal").
For a confirmation of my conclusions in the following parts of the work, there are considered theories and the concepts confirming a hypothesis of autogenerating of a universal-cultural structure of the texts of culture. Among them - Charles Jungs and Stanislav Grofs ideas about subconscious factors of generating and synthesis of inner invariant semantic structures of texts of culture, fixing of the fact of spontaneous autogenerating of identical CUB-structures in a historical and political idea, in fairy tales and children psychology by Howard Olker, an explication of autogenerated reproduction of universal-cultural senses in the work of productive ability of imagination through experiments with childrens creativity of Italian storyteller Janny Rodari and introspection of a Russian childrens writer Nikolay Nosov.
In the following part of work there was carried out the analysis of processes of self-generation of universal-cultural senses in the conception „language as a home of objective reality” (Martin Heidegger) and through spontaneous poetic creativity (Maximilian Kirienko-Voloshyn). Then the process of creation of a piece of writing (on example of a short story) is investigated and it is offered to consider it as a fluent creative synthesis of universal-cultural connections of actants. The development of heuristic potentialities of critically reconsidered concept of O.Frejdenberg has finally fixed the results received in the previous sections. It was realized by a demonstrative explication of the fact that owing to a projection of the human CUB-senses which are available in structure of independent consciousness, to an objective reality, there takes place a universally-cultural semeiotization of the entire reality and its separate fragments and objects. But as both this semeiotization, and objects and fragments of reality are a mobile objective structure of the contents of world outlook consciousness then we have carried out a restoration of the invariant cultural-world outlook contents in stage evolution of objectively- figurative bearers of is universal-cultural meaning (a totem - tsar - slave-clown).
Examination of a conceptual part of work of O.Frejdenberg has shown that under "metaphors" she has presented a full set of categories of ultimate bases and world outlook codes, including their formula sheaf. Along with this, it is necessary to accept, that the classification of "metaphors" developed by her, is extremely inconsequent and incorrect, in particular in view of their universal-cultural sub-base.
Thus, the mortal CUB, represented in „metaphor” "Death", serves not only as a rubricator for a range of some other metaphors. This category is considering by O.Frejdenberg in itself also, as the subject of