y 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. p> 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). p> 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. p> 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". p> 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. p> 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. p> 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 ". p> 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. br/>
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...
