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 Gogol's 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 Ahmatova's 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 Dovzhenko's 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 Jung’s and Stanislav Grof's 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 children's creativity of Italian storyteller Janny Rodari and introspection of a Russian children's 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 classification, being included in other headings, particularly, in the group of „metaphors” "Meal".
The second reproach consists in the following. Declaring, that the subject of her analysis should be initial formations of before-logical and before-world outlook consciousnesses, O.Frejdenberg actually carries out a reconstruction of „metaphors of primitive consciousness” on the basis of the analysis of late, derivative forms of logically structured and Weltanschauung, ideologicallyoriented consciousness (specifically, myths).
At the same time, O.Frejdenberg's doubtless merit is that she tried to find a source of structural invariants of texts in archaic formations of consciousness, though she did not reject the idea of their borrowing and „migrations”. Initial ceremony „reality”, the structure of which is usually considered as a source of structurization of the text of culture „derived”from it, is only a field of demonstration, but by no means the source of this structure origin.
The invariant universal-cultural structure of the text of culture lies in the depths of human subjectivity, on what O.Frejdenberg, neglecting serious enough for those times possible accusations in idealism, sagaciously indicated in her works.
In my opinion, the given structurization-forming subjectivity does not belong only to the "primitive" consciousness as O.Frejdenberg considered. The invariant of cultural consciousness in the same measure, as in remote times, lives and acts at present and will act in the future. Therefore, it is incorrect to consider this primitive consciousness and its "metaphors" as that source from which the stereotyped "patterns" of the subsequent cultural forms have originated.
What O.Frejdenberg considers as metaphors of primitive consciousness is not something forgotten in the far passed times. Their senses are always relevant, in any epoch. Taking into account a continuous action of eternal the existential factors, defining the stereotype of key parameters of human attitude to the world, these coincidences are caused by the fact that people of all times and nations certainly reflect on eternal philosophical questions and reconstruct the immortal themes in the literature. Owing to this deep identity of texts at level of CUB and codes, it becomes possible to observe the typological coincidences, identities and parallels in different cultural texts, but already at a level of their external displays (motives, plots, themes, figures, characters).
If we meet identical texts in different cultures it is impossible to deny the fact of any borrowing, migration or reproduction. But there is a question – what is the reason of borrowing of that by one culture from another? The reason of this, most likely, is that in each culture some "eternal" problems continue to remain relevant at all times. Therefore here it is necessary to speak not about simple mechanical borrowing, but about actualization of existential senses in texts of culture at a level of their inner structure. For each person who has come to this world, the questions of his own life and death will be always important and actual.
Caused by patrimonial unity of the person, the identity of notional and vital searches of people dictates the presence of the given identity also in these answers offered in different cultures, which as a result are reduced to a universal-cultural invariant of the persevering strengthening of a life, a passionate desire to overcome death and to reach if not eternal, but a long life. Ancient texts, which did not have any existential meanings (for example, inventory tablets from Mesopotamia), are interesting today only to experts of particular speciality, whereas the myth of Hilgamesh, of searches for immortality, excites imagination of our contemporaries.
C. Jung and S. Grof in a certain sense were inspired with a search of culture universalias as they, basing on the concept of subconscious, put before themselves the purpose to trace how these inborn elements of human subconsciousness determine the contents and structure of mythological legends, images, dreams and cultural texts in general. C. Jung considered these factors as archetypes, and S.Grof – as the so-called basic perinatal matrixes (BPM). Both the archetypes, and BPM, examined from my point of view, have easily opened their universal-cultural contents. And it concerns not only such obviously expressed CUB-archetypes, as blood or the murderer of the father (an aggressive code), but also some archetypes of erotic code, shadows (the latent negative features of the person as a result having mortality in their basis), "egoism" (Selbst) (a heart of personal consciousness as expression of completeness of vital forces, vitality), etc.
Eventually, as the base of vitally-important directives C. Jung points out the poles of a life – birth and death referred to the sphere collective subconscious. As the certain measure this circumstance was accepted also by C. Jung, speaking that archetype constituents of dreams of the little girl, which he has selected for a substantiation of his viewpoint, are reduced to ideas of destruction (aggression as destruction) and restoration (restoration as revival). The general limit of this phenomenon was pubertal age of the girl (erotic coding of life as continuation of a clan, as clan immortality) and the presentiments of her life premature ending (mortality).
Achievements of immortality through overcoming of threat of death as a formula invariant of all archetype motives is indirectly accepted by C. Jung as he draws a parallel between dreams of the girl and ceremonies of initiation (confirmation) which have such invariant structure (life – death – revival). From these important remarks of C. Jung it is possible to draw a conclusion, that he accepts, that in a basis of archetypes there are some wider world outlook structures which are the categories ultimate bases.
S. Grof, known as the initiator of transpersonal psychology, having investigated a huge file of texts of culture, has put forward an idea according to which the invariant constituents of the mentioned texts are determined by that they are structured according to certain schemes reflecting the stages of childbirth. One’s own birth does not pass for the person without leaving a trace, and in its key stages is fixed in „perinatal” to sphere of subconsciousness, determining to a great extent the following postnatal conscious experiences of many life circumstances within the limits of psychological structure of the person generated under influence of these matrixes. He declares that connection of biological experience of a person own birth with experience of dying and a new birth, which is shown in imaginations, dreams, works of art, etc. is rather deep and specific.
As after the analysis carried out by us it was found out, that BPM of S.Grof on the whole are the original expression of a basic triad "life – death – revival" experienced by the person during the process of her birth, then we can draw a conclusion, that if this memory of one’s own birth sets the structure of personal consciousnesses, then its structure also should correspond with this triad. That is, an invariant of the derived from these BPM substantial layers of consciousness are the categories of ultimate bases.
H. Olker's leading ideas are close to my opinions. His analysis essentially differs from all previous attempts to throw light on the origin and essence of invariant constituents of texts of culture. The main point of his idea consists in the statement of generating of culture invariants in depths of our consciousness owing to that a text of culture appears not so much as reflection of "reality" by our consciousness, but as a product of active designing by our consciousness of universal senses which are introduced in this "reality". He has carried out the proof of this thought by demonstration of identity of fairy tale texts with historical and political ones. Besides it turned out, that the American test for the best memorizing of the text by children shows, that such text is the fairy tale, defined by V. Propp as the basic (Аф131) at the heart of which, as well as in historical works (Arnold J. Toynbee), there lays the basic world outlook formula.
So, each of these scientists following their own way, actually came to conclusion, that the structure of consciousness is determined by categories of ultimate bases, which during their autogeneration and filling with the concrete contents form an authentic CUB-structure of all texts of culture.
From the point of view of a substantiation of idea of autogenerating of universal-cultural structures and one of the variants of the basic world outlook formula there are interesting examples of spontaneous children's creativity which are accompanied by introduction in the texts of the certain threat with the purpose of reproduction of the full basic formula „life - death – immortality” in the variant „life – a fatal threat – removal of the threat”. Giving children a task of creation of their own fairy tale, J. Rodari has found out, that all of them do not fall outside the limits of a drama of life and death. That is, the productive childish consciousness spontaneously generates such structures that base on categories of ultimate bases and the basic vital purpose.
Something similar was found out by another children's writer, N.Nosov during introspection of his creative work when he found out, that in a basis of the plot of the story (touching contemporary themes) written by him there has laid down an archaic, though weakened and transformed motive of occurrence of threat and its avoidance. Determined by stage andage-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.