t 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 ". p> 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. p> 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. p> It is obvious, that their astonishing stable presence in works of different genres of different times can be explained only by autogeneratio n 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. p> 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 ". p> 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. p> 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. p> 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...
