t seems so. Nevertheless, the matter is that the basic invariant fairy tale structure does not exist in pure form, just as it is. Similarly, to an archetype, it demonstrates itself only through an objective material, but is not reduced to it.
In turn, a part of a concrete material of a fairy tale, in particular, some objectively-figurative embodiments of actants, owing to their steady fixing at the certain basic elements of fairy tale structure or at its typical episodes, become similar to clichés. Owing to this circumstance, the given embodiments of typical functions in the certain characters show resistance to their artificial inclusion in such cells of structure where the not inherent functions will be imposed to them. Nevertheless if they are still forced "To enter" the "place" in the structure not inherent in them, determined by a functional role alien to them, then this character starts to look as something distorted or mockly -ridiculous. p> It is exactly those cases when the stepmother will love the stepdaughter more, than her own daughter or when the peaceful Wolf will suffer from the Little Red Riding Hood, and Tsarevitch will fall in love with the She-Dragon. p> It is interesting, that similar experimentation with functions of fabulous characters was carried out by a famous Italian children's storyteller J. Rodari who in "topsy-turvy fairy tales" suggested sating an invariant "bare scheme" of fairy tales with the characters performing functions, opposite to habitual ones. However, the "bare" scheme therefore is considered "bare", because it does not exist just as it is, outside of its concrete personifications. Characters through their actions should "open" this "scheme" (Structure). But then on this basis it is possible to draw an opposite conclusion that it is exactly "structure" that sets meanings (functions) to the "elements", rather than conversely. What is the true answer? p> Here we have approached to the main point of the problem. It consists in what represents and by what is determined the "bare scheme" mentioned above, which retains in all possible though extravagant embodiments. It is necessary to accept, that only the account of that circumstance, that a deeper universal-cultural worldview context acts as an invariant basis of fairy tales, where all concretely-structural and substantial moments are strung on idea of ​​a survival through struggle against death, allows breaking off a vicious circle which arises here.
Then in the work there is given explication to negative singular consequences of the theory of V. Propp about an origin of structure of a fairy tale from a ceremony. It is carried out through demonstration of discrepancy between a key postulate of the concept of V. Propp - "the structure of a fairy tale is determined by the structure of an (initial) ceremony "and the contents of his research. There is also used a method of "back (reversal) reconstruction" by means of transformation of the relation "a ceremony - a fairy tale" to "a fairy tale - a ceremony ", that leads to paradoxes and obviously absurd hypothetical situations. p> Thus, the motive "chopped and poisoned" is explained by V. Propp by means of the contents of an initial ceremony. In the course of time a real murder, which is nonsense in itself, as an initiant should pass a ceremony of initiation, instead of fall a victim in sacrifice, was replaced, according to V. Propp by cutting off a finger. But then all masculine population of archaic communities should be entirely adactylous, and it is not so. p> Similar discrepancies arise in cases of explanation of ritual defloration of women who have already given birth and in other similar absurd statements which testify that such illogical result of research cannot be considered satisfactory in any way.
Some other weaknesses are inherent in explanations by V. Propp concerning the sources of fairy tale structure, that are able to testify their incorrectness. Thus, he, in spite of a many times declared position that the structure of a fairy tale is determined by the initial, and also, partially, by other ceremonies, was never able to stay in limits of this key postulate. p> Actually he pass to another level of "reality" connected not only with initial , but also funeral , wedding and calendar ceremonial and with beliefs which accompany them, including the developed forms of myth and religion , with cult of ancestors and totemistic cults . When explaining the origin of motives and episodes of a fairy tale he uses separate details of other ceremonies , in particular, sacrifices and becoming related, adding to them national believes, and even imaginations, dreams and, an absolutely extreme case, the ability of people to forget. He also bases on data about customs , a c...
