Поэтика мифа

A special chapter deals with the ethnology of social medium and incest myths connected with it. Further on the material of archaic tribal myths is gradually substituted for developed mythological systems of early civilizations. Examination of chaos – cosmos correlation (transformation of chaos into cosmos constitutes the content of any mythology) and variants of mythological cosmogenesis is succeeded by the analysis of fundamental universal models, then calendar myths, cosmic cycles and eschatological myths, as well as heroic myths and interrelated rites of passage. Special significance is attached to the analysis of semantics of the mythological plot and mythological system on the basis of structural-semiotic methods. There is, in particular, a comparative-typological analysis of various developed mythological systems of ancient civilizations (Egypt, Babylon, Greece, India, China, etc.). The concluding chapter of the second part deals with myth interrelations with tale and epos and the onset of demythicizing process in folklore. The archaic fairy-tale is structurally equivalent to myth, but the classical European fairy-tale with its complex hierarchic three-stage structure treats myth as a sort of more liberal metastructure. The process of demythicizing in a fairy-tale comprises dissociation from ritual, substitute of mythical time for an indefinite one, abandonment of the mythical hero and transferring the accent from the cosmic fate to an individual one, withdrawal from ethnographically strict beliefs and transition to the conventional poetic imagery, admittance of fiction, etc. The archaic epos (before state consolidation) makes use of the mythic language and synthesizes heroic fairy-tales with the myths about culture heroes protoancestors. Epos in ancient agrarian societies employs ritual models tied with calendar mythology.

The third part is concerned with mythology in the 20th century literature, novels almost exclusively. The novel was previously as far from mythological motifs as it could be, but became the field of modernist renaissance of myth now. Mythology united with in-depth micropsychology and symbolic leitmotifs, which can be traced bade to Wagner musical drama, became an instrument of material organization in the modem novel, on its way of classical forms transformation and detachment from the traditional 19th oen-tury realism. The social-historical approach determined the structure of the 19th century novel to a large degree. Attempts to go beyond its rigid framework or above its level could not but shatter this structure. Unavoidably the empirical life material, social material as it is, became more spontaneous and unorganized, which was compensated by the action becoming internal (inside monologues, stream of consciousness, subconscious complexes) and symbolic, even mythologically so. Myth being totally symbolic, turned out to be a-convenient language for description of eternal models (archetypes) of personal and social behaviour, certain existential laws'of social and natural cosmos indistinctly apparent against the background of empiric context and historical changes; myth developed info an instrument of the structural analysis of the narrative, rid of social-historic and space-time aspects, fo-cussing up.on revealing the metaphorically eternal generalized contents. The mythological approach conditioned by an in-depth» psychological analysis is not levelled at social types or individual characters but at some everyman emancipated of social context. Here the catalyst was psychoanalysis especially its Jung variant, which is nothing but a paradox since the true origin myths are still aimed at unconditional subordination of personal emotions to the social cosmos. The gap between the unhealthy psychology of a lonely or oppressed individual of the 20th century and the pre-reflective, extremely social psychology of archaic communities could be only bridged at the expense of modernization of the origin myth; the awesome span separating a modern man from authentic original creators of myths is mollified by irony and selfirony. A deeper understanding of myth in the 20th century novel (as compared even to the 19th century romantic novel) is blended even more than in ethnology (but backed by modern theories of myth and analytical psychology and ritualism in particular) with modernization tendencies characteristic of the 20th century social situation.