Criticism of Vladimir Propp’s Theory on Genesis of Magic Fairy Tales’ Structure
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laid down an archaic, though weakened and transformed motive of occurrence of threat and its avoidance. Determined by stage and age-specific and sociohistorical factors the forms of representation of the given intention in the structure of subconsciousness of children, and, by the way, of adults, cannot be denied. There will be no greater exaggeration to state, that the basic intention of our consciousness, initially programmed on avoidance of danger and on a survival, is always turned up to overcoming of a fatal threat. For these reasons, the person, young or adult, during realization of his mysterious productive ability of imagination (I.Kant) and creative imagination from any offered objective material, certainly synthesizes such texts, which will be structurally organized on the basis of this fundamental intention.
The analysis of game behaviour of children, ideas on „an instinct of immortality” by Jacob Golosovker, Elena Ulybinas psychoanalytic reconstruction of psychology of the girl-teenager in A.Ostrovskys play Snow Maiden, show, that corresponding universally-cultural intentions of consciousnesses can invariantly structure a fairy tale (and any other text) directly during their generation. Plots with the CUB-structural core become "eternal" not owing to presence in them of any images already known before, characters or motives, but owing to "eternity" (topicality for each generation) of their invariant universal-cultural contents. The Last one is independently generated (self-generated) by modern sub/consciousness, originating as a result of working of cognitive creative mechanisms.
It is well known, that M. Heidegger defines language as the Home of Being, which proclaims itself to us through poets. The poetry is understood by him as formation of Being by means of a word. In the work I was limited to consideration of a question on how the language of poetry correlates with Being (in all its meanings known to philosophy) which in this case is understood as the text, that is as totality of obvious or mysterious senses and as through language of poetry their possible revelation. I searched for the answer to it in works of M. of Kirienko-Voloshyn, the reference to whom has shown, that through spontaneous creativity of the poet the Being demonstrated itself as a certain text, which in its basis does not fall outside the limits of categories of ultimate bases and codes, and it was the result of spontaneous autogenerating of senses, instead of simple reflection of reality. M. Kirienko-Voloshyn describes this process in an image of a spider, which spins from itself a fabric of knowledge: „Where spun in smoky dreams the consciousness-spider / The living tissues bodies, but body was a sound”.
One of the most interesting problems of the theory of creativity is a problem of spontaneous synthesis by story-tellers or writers of numerous plots. Here the most important for us was a substantiation of the statement about a certain "a priori" prediction of produced plots. The idea consists in development of that indisputable conclusion, that at a final set of constant structural elements of the text the number of their combinations is also final.
Reasoning from the results of my work on the structural analysis of a short story I have shown, that Marguerite de Navarre was free in her choice of characters and in representation of variations of relations between them, drawing them from their final register. But she was not free in a choice of most these very relations. As well as modern science fiction writers, she recreated these relations mainly in two of their four possible forms erotic and aggressive though communications on the basis of alimentary, and in particular informative code were also realized by her.
It is obvious, that their astonishing stable presence in works of different genres of different times can be explained only by autogeneration of the given types of relations, that testifies that exactly these intentional, spontaneous, immanent preferences of creators of the work of literature, which are at the bottom of their basic vital directives, make a basis of those humanly important senses which are shown during the work of their productive ability of imagination and can are realized in the results of their creative synthesis of texts.
As I already said, the world is a projection of humanly important senses on an objective reality. A fundamental feature of the substantial and structurally-formal side of these senses is their subordination to the universal-cultural meanings inserted in the general world outlook formula „strengthening of life, overcoming of death, aspiration to immortality”.
Having passed the theoretical "circle" and having critically reconsidered the concept of „metaphors of primitive consciousness” of O.Frejdenberg, we again, but already at higher, theoretically-based level, have approached the statement declared at the beginning of work that owing to this projecting feature of our consciousness both the world as a whole, and its separate fragments, are semiotized by us within the limits of our most fundamental vital aims.
At the same time, the acceptance that the mentioned "metaphors" are anything else but categories of ultimate bases and the world outlook codes connected in a formula sheaf „life death immortality”, allowed us to show, that the unusual meanings of habitual things reconstructed by O.Frejdenberg do not fall outside the limits of this formula. For example, it has been shown, that such „archetype” concepts as House, Field, Temple have exactly these meanings.
The temple appears as a special sacral place, where there is given a communion of “favour and life of a deity” to the believers. Its vertical and horizontal dimensions have strongly expressed CUB-semantics. It is clear from orientation of temples on a line „East West” (life - death), that determines the position of altars only in its eastern part, and a front entrance so that the movement to a temple was only from the West on the East, from death to life.
Crowning of the dome-sky by the cross with its diasemantics „death-revival”, the peculiarities of the orthodox cross with slanting section of its bottom horizontal part which by its spatial orientation also symbolizes a victory over death and the strengthening of life - all this unconditionally points out to universal-cultural structuredness of a temple architectural text which is not limited only to these senses. „The temple” acts also as a high life ideal (an information code of vital universalia) to which should lead all the roads.
According to O.Frejdenberg, the matter concerns a certain complex of senses which was developed during a semiotized consumption of food, copulations and funeral actions during initial, before-ceremonial periods of their display. The general "scheme" of its „construct” looked like a movement from occurrence and bloom to the decline, and that movement was carried out by an animal-totem, which was torn up and eaten up, managing certain ritualized actions. Later is the sun, leaders, emperors, gladiators, olympians, defendants and, finally, actors became its personification.
Consequently, these initial senses became inherent to all things and actions which surrounded these figures actually to ceremonies and rituals, cities, Olympic and other games, constructions (to triumphal arches, pillars, to images of lions, to gates, doors, to wreaths on them, to windows), to things of the daily use (to a table, a cloth, a chair, awnings, marquees, to a veil, to a carousel), to a theatre (comedy and tragedy, stage, orchestra), to literary genres and other texts of culture, inclusive with ritual food (sausage, pies, forcemeat and peas). E.g., such traditional elements of Olympic Games, as letting out of an eagle before their opening (now - pigeons) and crowning the winner with a laurel wreath have the meaning of a victory over forces of death (immortality).
In antiquity Olympic struggle was a real hand-to-hand fighting, and it continued until one of the opponents was not killed. Since those times when these games still were a fatal competition, the one who after games remained alive, was crowned with a wreath as a token of a victory over death.
The initial meanings of peas are also unusual for us. Special ritual semiotization of food has led to transferring of "food" semantics to things and phenomena entirely different from food. It is well know, that the clown is often given an epithet "pea fool", as well as the expression "under the tsar Pea" (in days of yore).
Exactly from farces of beans and lentil there was originated a stereotypic expression "a pea clown". In general, both the clown, and tsar once directly personified the universal-cultural basic formula life death revival, and peas (lentil) became associated with them for the reason, that before ritual killing of princeling (and then - his substitute, the slave), they were crowned with a pea straw, echoes of that have reached in some ceremonies almost up to present times.
„Storm of applause turning into ovation” now is a sign of approval by a public of performance of an actor or report of a speaker. But their original meaning was differed from the modern one. The main character of an ancient theatre was the god of death and revival Dionysius. In a theatrical drama it was the Dionysius-bull or the Dionysius-goat.
If this goat partially denominates tw