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. p> 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 (Аф 131 ) at the heart of which, as well as in historical works (Arnold J. Toynbee), there lays the basic world outlook formula. p> 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. p> 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. p> 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 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 Ulybina's psychoanalytic reconstruction of psychology of the girl-teenager in A.Ostrovsky 's 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. p> 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 qu estion 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 i...
