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    • Types and archetypes in literature. Other images in folk tales

    17.02.2019
    Theory of Literature. History of Russian and Foreign Literary Studies [Reader] Khryashcheva Nina Petrovna

    Chapter 1 The concept of "archetype" in the science of literature

    The concept of "archetype" in the science of literature

    From the beginning of the 1990s to the present time, the problem of the interaction between myth and literature has been given attention in Russian science. great attention. CM. Telegin identifies three levels of connection between literature and myth: “borrowing plots, motifs and images from mythology; creation by the writer of his own system of myths; reconstruction of mythological consciousness” [Telegin SM. Philosophy of myth. M., 1994. S. 38]. In our opinion, the typology proposed by Telegin needs some clarification. The interaction of myth and literature can be represented as follows: firstly, the writer's conscious appeal to certain mythological plots and motifs known to him; secondly, the so-called myth-making, when an artist, on the basis of an ancient myth, as if according to its canvas, creates his own myth; thirdly, correlation of literature and myth through archetypes.

    The concept of "archetype", known in late antique philosophy, is actively used in various branches of science - in psychology, in philosophy, in mythology, in linguistics. Among other sciences, this term is widely used in literary criticism. And in all scientific branches… the understanding of the archetype goes back to the works of C.G. Jung, who defined archetypes as “the most ancient and most universal forms of representation of mankind” [Jung K.G. On the psychology of the unconscious. M., 1994. S. 106], located in the collective or supra-personal unconscious, which is collective “precisely because it is separated from the personal and is absolutely universal, and because its contents can be found everywhere, which just cannot be said about personal experiences” [Ibid. S. 105]. In An Attempt at a Psychological Interpretation of the Dogma of the Trinity, Jung defines the archetype as the primordial view on which the psychological idea rests: build the material of consciousness into certain figures” [Jung K.G. Sobr. op. Reply to Job. M., 1995. S. 47–48].

    Archetypes, according to Jung, are dynamic: “The archetype, of course, is always and everywhere in action.<…>The archetype ... is a dynamic image ”[Jung K.G. On the psychology of the unconscious. pp. 109–110]. The important features of the archetype can be attributed not only to its dynamism, but also to its universality: “The only thing that is common is the manifestation of certain archetypes” [Ibid.], writes Jung. Thus, the archetype, according to Jung, is a certain model that can be realized in various manifestations.

    And Jung, referring to the possible origin of this kind of dynamic and universal models, gives at least two reasons for the genesis of the archetype: first, archetypes by origin “represent a reflection of the constantly repeating experience of mankind” (4); secondly, according to Jung, “an archetype is a kind of readiness to reproduce again and again the same or similar mythical representations<…>Nothing prevents us from assuming that some archetypes are already found in animals and that they are therefore based on the specificity of the living system in general and are thus only the expression of life, whose status is no longer amenable to further explanation.<…>It seems that archetypes are not only the imprints of constantly repeated typical experiences, but at the same time they empirically act as forces or tendencies to repeat the same experiences. That is, the presence of an archetype is explained both by experience and by the original (biological) predestination.

    At the same time, experience, according to Jung, can be both personal (individual) and collective (universal), predetermined by previous generations. Therefore, it makes sense to talk about two layers of the unconscious, the relationship of which, according to Jung, looks like this: “The personal layer ends with the earliest childhood memories; the collective unconscious, on the contrary, covers the period preceding childhood, that is, what remains of the life of the ancestors. If the regression of psychic energy, going beyond even the period of early childhood, reaches the heritage of the life of the ancestors, then mythological images awaken: archetypes” [Ibid. pp. 119–120].

    <…>Taking into account such facts, we must apparently recognize that the unconscious contains not only personal, but also non-personal, collective in the form of hereditary categories ”[Jung K.G. Sobr. op. Psychology of the unconscious. pp. 191–192]. Another way to explain the existence of an archetype is through the common historical, individual and collective experience of a person: “ historical factor inherent in ... all archetypes in general, i.e., all hereditary unities, spiritual and bodily. After all, our life is the same as it was from time immemorial…” [Ibid. S. 258] (5)<…>. But let's not forget that the archetype is hidden and is realized primarily in dreams and in psychosis - "there are many dreams in which mythological motifs appear that are completely unknown to the dreamer.<…>In dreams in general, and even in some psychoses, archetypal material is frequently encountered, i.e., representations and connections that show an exact correspondence with myths. Based on these parallels, I concluded that there is a layer of the unconscious that functions in the same way as the archaic psyche that gave rise to myths<…>The earliest recalled childhood dreams often contain startling mythologems” [Jung K.G. Analytical psychology and education // Conflicts of the child's soul. M., 1995. S. 133–134].

    <…>The connection between archetype and myth for Jung is undeniable: “In the dream, as well as in the products of psychosis, innumerable correspondences arise, parallels to which can be found exclusively among mythological combinations of ideas (or sometimes in a special kind poetic works, which are often marked by not always conscious borrowings from myths)" [Jung K.G. To understanding the archetype of the baby // Self-consciousness of European culture of the XX century. M., 1991. S. 119]. Thus, Jung connects myth and literature not only through mythologemes consciously introduced into a literary work, but also through archetypes.<…>It is never a question of formalized myths (with very rare exceptions), but rather of the constituent parts of myths, which, due to their typical nature, can be designated as (6) "motifs", "prototypes", "types", or (as I called them) as "archetypes" ... archetypes are revealed, on the one hand, in myths and fairy tales, on the other hand, in dreams and delusional fantasies in psychoses" [Jung K.G. Understanding the infant archetype. S. 119]. Thus, the connection between the archetype and the mythologeme is obvious: “Still, the truth and numinous power of the mythologeme are significantly supported by the evidence of its archetypal character” [Jung K.G. An attempt at a psychological interpretation of the dogma of the Trinity. S. 15].

    Based on this, Jung believes that "myth is not a fiction, it consists of continuously repeating facts, and these facts can be observed over and over again.<…>The myth comes true in man, and all people have a mythical fate no less than Greek heroes <…>I would even like to say that the situation is the opposite – the mythical character of life is expressed precisely in its universal meaning” [Ibid.]. To prove this, Jung turned to mythological motifs, which he considered from the point of view of their universality, which allowed the scientist to “understand mythological motifs as structural elements of the psyche” [Jung K.G. To understanding the archetype of the baby // Self-consciousness of European culture of the XX century. S. 119]. The function of these motives in the psyche is as follows: “The primitive mentality does not invent myths, but experiences them. Myths are originally the essence of revealing the pre-conscious soul” [Ibid. S. 121]. Those fantasies that do not go back to personal experiences and have analogies in myths “correspond to known collective (and impersonal) elements. human soul in general and are inherited, like the morphological elements of the human body” [Ibid.].

    Let us sum up some results regarding Jung's interpretation of the concept of "archetype". Jung argues that there are certain patterns in the collective unconscious that have analogies in ancient myths. He called these models archetypes, demonstrating that in modern world they are present to one degree or another in the psyche of every person and can be realized primarily in dreams, in some forms of mental illness and in artistic creativity.

    Domestic literary criticism turned to the problem of the archetype relatively recently. One of the first attempts in our science to interpret a literary text using Jung's concept was made in 1982 by Boris Paramonov. His analysis became the "first sign" of the practice of interpreting a literary text, taking into account archetypal meanings in Russian science.

    A few years later, V.A. Markov. Firstly, the researcher established a connection between myth and literature through the archetype [Markov V.A. Literature and myth: the problem of archetypes (to the formulation of the question) // Tynyanovsky Sat. Fourth Tynyanov Readings. Riga, 1990. P. 137], rightly believing that “ artistic thinking, naturally, is formed on the same archetypal basis and is permeated with images derived from basic binary symbols” [Ibid. P. 141], which define the “general cosmological structure of being” [Ibid. S. 140].

    Secondly, Markov focused on three features of archetypes - universality, universality and reproducing (7) character: “When analyzing poetic texts, archetypes lie in wait for us, one might say, at every step. And these are not simple precedents, not occasional coincidences. There is - at the level of the collective unconscious - a completely objective historical (logical, artistic, praxeological) memory, which stores golden ingots of human experience - moral, aesthetic, social. The artist unblocks the primary meanings and images, scoops them out as much as he can, and returns to people the half-forgotten and lost. This is no longer renaissance, but restoration, the archeology of meanings” [Ibid. S. 141].

    As a result, Markov came to the following idea: “Universal human imperatives and values ​​have an archetypal basis. Here are the symbols of eternity and the eternity of symbols. Here myth, art and man” [Ibid. S. 145]. This gives the right to believe that archetypes accompany humanity throughout its history, because it "never parted with the myth" [Ibid. P. 144], appearing, in particular, in the literature; and that archetypes are the primary authority, a kind of focus of universal values ​​in all spheres of life, regardless of time and place. In this regard, it can be assumed that the inversion of the archetypal meaning is a retreat from universal human values ​​in favor of ideals of a different order, which indicate the transformation of the carriers of this kind of inversion in the universal sense.

    Such an assumption allows us to rethink the literary work and/or the artist's attitude, which we will try to show in the future. But note that the archetype, according to Jung's understanding, like myth, is outside of "good" and "evil", outside of any evaluation characteristics. The archetype is simple There is, therefore, it makes sense to talk about its identification with values ​​of any kind and, accordingly, with morality only in terms of comparison, i.e., to consider the archetype as the primary instance, where everything that subsequently thought of as a universal value. In many ways, this correlation is metaphorical, but it is necessary both for a deeper understanding of the role of the archetype at the present stage of human development, and for understanding the attitude of a particular person (including an artist).

    On the representation of the archetype as the focus of universal human universals, laws human being and build our work. WITH modern point of view, we can judge the binary oppositions of myth as containing evaluative connotations (cosmos - "+", chaos - "-", etc.). Therefore, it is natural that the non-evaluative archetype in modern interpretations can receive evaluative characteristics.

    SM draws attention to a transformation of this kind. Telegin: “... having disappeared as a collective unconscious, mythological consciousness continues to exist and successfully manifests itself not only in dreams, but also in artistic creativity. The impact of myth on literature is based (8) mainly on the proximity of the methods and tasks of myth-making and artistic creativity, on the unity of mythological and artistic perception” [Decree. op. S. 38].

    M. Evzlin also offers a special interpretation in the work “The mythological structure of crime and madness in the story of A.S. Pushkin's "The Queen of Spades", using as material for the analysis of the texts of Russian literature the entire possible layer of mythologies: "for Europeans of the late 18th - early 19th centuries, ancient Greek mythology was mythology par excellence. Therefore, it would be incorrect to analyze Pushkin's story, say, using the data of Japanese or Australian mythology. However, since we are talking about ARCHETYPICAL motifs, we believe that it is permissible to draw on data from other mythologies” [Evzlin M. Cosmogony and ritual. M., 1993. S. 33]. According to Evzlin, the interpretation of a text through archetypal motifs sometimes makes it possible to see the meanings hidden in other interpretations.

    On the correlation of the archetype and literature, the concept of E.M. Meletinsky, although he argues with Jung on two main points: firstly, the objection of the researcher is that Jungian archetypes are not plots [Meletinsky E.M. About literary archetypes. M., 1994. P. 6], and, secondly, the researcher doubts the hereditary nature of the transmission of archetypes [Ibid. S. 15].

    In this regard, Meletinsky gives his own definition of archetypes, which in many respects contradicts Jung’s: archetypes, according to Meletinsky, are “primary schemes of images and plots that constituted a certain initial fund of the literary language, understood in the broadest sense” [Ibid. S. 11]. The researcher notes: “In the early stages of development, these narrative schemes are distinguished by exceptional uniformity. At later stages, they are very diverse, but careful analysis reveals that many of them are original transformations of the primary elements. It would be most convenient to call these primary elements plot archetypes” [Ibid. S. 5]. That is, the work of Meletinsky is devoted primarily to plots.

    Proceeding from this, the researcher introduces the concept of “archetypal motive”, defining the motive itself as “a kind of micro-plot containing the predicate (action) of the agent, patient and carrying a more or less independent and rather deep meaning. It’s just that we don’t include any movements and transformations of characters, meeting them, especially their individual attributes and characteristics, in the concept of motive<…>In addition, within the framework of a complete plot, there is usually a tangle of motives, their intersection and association” [Ibid. pp. 50–51].

    EAT. Meletinsky also addresses the problem of the pathos of myth, noting that this pathos “quite early begins to come down to the cosmicization of primary chaos, to the struggle and victory of the cosmos over chaos (that is, the formation of the world turns out to be at the same time its ordering). And it is this process of the creation of the world that is the main subject of the image and main theme (9) ancient myths» [Ibid. S. 13]. Thus, according to Meletinsky, “the philistine idea that the struggle between good and evil is depicted in myths, and especially in fairy tales, is very simplified and, in principle, incorrect. From the very beginning, it is rather about the opposition of “our own” and “foreign” and “cosmos” and “chaos” [Ibid. S. 43]. Indeed, the myth is based on binary oppositions, where any estimates (good and evil) are unacceptable. But the myth (and, accordingly, the archetype) in the modern world, as already noted, can acquire these assessments. It is that “philistine idea” about which E.M. Meletinsky, and is, in essence, the focus of the modern existence of the archetype. Therefore, the “philistine” is inclined to consider the mythological plot not as just a struggle between creation and eschatology (cosmos and chaos), but as a struggle in which creation is good, and eschatology is evil. This confirms Jung's maxim about the dynamism of the archetype. By the way, E.M. Meletinsky drew attention to the transformation of the archetype: “Myth, heroic epic, legend and fairy tale are extremely rich in archetypal content. Some archetypes in the fairy tale and epic are transformed, for example, “monsters” are replaced by infidels, the totemic “wonderful wife” is replaced by an enchanted princess, and then even a slandered wife who makes a career in a travesty, in a man's outfit, etc. However, in the case of transformations the primary archetype shines through quite clearly. It seems to lie at the deepest level of the story. Then there is a double process: on the one hand, traditional plots, in principle dating back to archetypes, are preserved in literature for a very long time, periodically clearly showing their archetypal character, but, on the other hand, the transformation of traditional plots or the fragmentation of traditional plots into peculiar fragments more and more obscure the deep archetypal meanings” [Ibid. S. 64].

    But in the sphere of attention of E.M. Meletinsky are not so much archetypes in general (in the Jungian sense), but archetypal plots and images. Numerous subject motifs and details remain out of the researcher's field of vision, although, just like mythological plots, they can be archetypal, which will be discussed later.

    In the meantime, let us conclude that the concept of the archetype has been formed in Russian literary criticism, which deserves the most close attention (10). <…>EAT. Meletinsky demonstrated the possibilities of interpreting Russian literature of the 19th century through archetypes in plots and images. Our task is to show that archetypes can also be used in the analysis of other elements of the text, in particular, motifs.

    By archetypes we mean (based, of course, on the definitions of the archetype given by C.G. Jung and E.M. Meletinsky) primary plot schemes, images or motives (including objective ones) that arose in the consciousness (subconscious) of a person on the very early stage of human development (and therefore common to all people, regardless of their nationality), most adequately expressed in myths and preserved to this day in the human subconscious (11).

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    The sixth meeting in the literary drawing room.

    Topic: The archetype of a literary hero.

    Acquaintance third:
    Hello, Robinson!
    - Well, finally ... Are you Friday?
    - No... I'm Tuesday.
    - It's clear…. Listen, Tuesday, go back to the Author and tell him to send Friday. And one more thing... Remind him that I will return to inhabited land at the end of the book. And then, I’ll definitely get to him ... In the meantime, let him carefully read the chapter on Archetypes and send me - not Wednesday, not Thursday, but Friday ....

    And so, what is - archetype And why does a writer need it?

    archetype- a prototype collected on the basis of human experience, betrayed from generation to generation. The archetype is characterized by common features and properties that allow it to be quite clearly defined.

    archetypes provide a deep structure for human motivation and worth. When we encounter them in art, literature, scriptures, advertising, either individually or in groups, they awaken deep feelings in us. These imprints, which are the "hardware" of our psyche, were brought out by the ancients in the images of gods and goddesses. Plato separated them from religion, regarding them in philosophical terms as "elementary forms". Psychologist of the 20th century C. G. Jung called them "archetypes".

    archetype- an easily recognizable template that is taken as the basis for creating a hero and, depending on the role that the hero performs in the work, either remains unchanged or is supplemented individual traits, or vice versa - opposite properties.

    For example, archetype- mother. How do we usually imagine, following from human experience, this character? Caring, kind, selfless woman.

    Option 1. archetype- The mother in your book is the heroine of the second plan, you mention her in the context of the work. The mother corresponds to the generally accepted archetype, you, as the author, don’t have to bother too much with the study of her image, 2-3 features and the image is created.

    Option 2. archetype- The mother in your book is the heroine of the second plan, but her actions significantly affect the fate of the protagonist. Accordingly, the generally accepted image is complemented by individual features that explain certain actions of the heroine.

    Option 3. Archetype - The mother in your book is the main character. archetype requires significant and sometimes global work. Remember the heroine of B. Brecht's play "Mother Courage and Her Children".
    Mother Courage is cruel and inexorable, cynical and prudent, greed is brought to the point of absurdity: avarice wins her love for own son, who is shot without receiving a ransom.

    How much is all archetypes? Thousands. Repeatedly philosophers and literary critics tried to create a unified system of classifications archetypes but… Haven't done it until today.

    In the most famous book on brand building with archetypes(Hero and Rebel.. Mark M., Pearson K. Peter 2005), 12 cited in total archetypes: Creator, Caring, Ruler, Jester, Nice fellow, Lover, Hero, Rebel, Magician, Innocent, Seeker, Sage.

    Archetype - Innocent:
    In every era there are myths about the "golden age" and about the promised land, where life is already perfect or will be so. The vow of the Innocent is that life should not be hard. Inside each of us, the Innocent is a spontaneous, trusting child who, despite some addiction, still has enough
    optimism in order to take the Road.

    Archetype - Nice Guy/Sirota

    Nice fellow / Orphan understands that the meaning of each is exactly what he is. Homely and unpretentious, it carries a deep structure influenced by a wounded or orphaned child who expects very little from life, but teaches us empathy, realism and worldly wisdom.

    Archetype - Warrior/Hero
    When all seems lost, a Warrior/Hero Rider rides over the hill and saves the day. Firm and courageous, this archetype teaches us to set and achieve goals, overcome obstacles, endure hard times stoically, although it also tends to see all enemies and think in terms of "either-or".

    Archetype - Caring/Altruist
    Caring is an altruist, driven by compassion, tenderness, and selflessness to help others. Though prone to martyrdom and accommodating behavior, the Caregiver/Altruist helps us raise our children, help those in need, and build structures to keep us alive and healthy.

    Archetype - Seeker/Pathfinder/Wanderer
    The Seeker/Pathfinder/Wanderer leaves the known alone to explore the unknown. This strong-willed individual flaunts loneliness and isolation in order to seek new paths. The often oppositional, iconoclastic archetype helps us discover our uniqueness, our perspectives, our inner urges.

    Rebel/Destroyer
    Rebel/Destroyer focuses repressed aggression on structures that no longer serve life, even when those structures are supported by society or by our conscious choice. Although this archetype may not have roots himself, he weeds the weed in the garden in such a way that he allows a new one to grow.

    Archetype - Lover

    archetype The lover rules all types of love - from parental love to friendship, to spiritual love - but we know it best in its romantic form. While it can bring all kinds of heartache and drama, it helps us experience pleasure, seek intimacy, be committed, and pursue our happiness.

    Archetype - Creator
    archetype The Creator encourages all imaginary aspirations - from high art to the smallest innovations in lifestyle or work. Unlike stagnation, this can lead us to overload our lives with constant new projects; at the same time, being directed in the right direction, it helps us to express ourselves in the most attractive variety.

    Archetype - Ruler
    archetype The ruler inspires us to take responsibility for our own lives both in the area of ​​our aspirations and in society as a whole. If he or she overcomes the temptation to dominate others, then such a developed Ruler creates an environment that is ready to accept the gifts and views of all who are concerned about it.

    Archetype - Mage

    archetype Maga thoroughly studies fundamental laws science and metaphysics to understand how to transform situations, influence people, and turn vision into reality. If the Magician overcomes the temptation to use his power to manipulate, then he creates positive energy.

    Archetype - Sage
    archetype The sage seeks the truths that make us free. Especially if the Sage overcomes the temptation to become dogmatic, he can help us become wise, see ourselves and the world objectively, and correct our course for
    based on the results of our actions and choices.

    Archetype - Jester
    archetype The jester encourages us to enjoy life. While the Jester may tend to be lazy and frivolous, the positive Jester invites us all to come out and play - showing us how to turn our work, our interactions with others, and even the most mundane tasks into Fun.

    You can familiarize yourself with this book worthy of study, and I will introduce you to the generally accepted archetypes literary heroes, featured in Heroes and Heroines by Tami Cowden, Caro LaFever and Sue Wieders.
    Male archetypes:

    1)Archetype - Boss- controls everything, requires obedience and respect. The end justifies the means for him. Don Corleone from The Godfather by M. Puzo can be cited as an example.

    2)Archetype - Badass- smart and charismatic. In the past, misfortune happened to him and this seriously affected him. Society accuses Bad Boy of all mortal sins, but he never makes excuses and does not let anyone into his heart. The bad boy becomes a man early, constantly rebels, but his rebellion is a means of self-defense. At heart, he is kind and somewhat sentimental. Example: Rhett Butler from Gone with the Wind by M. Mitchell.

    3) Archetype - Best friend- stable, peaceful, always ready to help. Often he is torn between duty and his own desires. Example: Christopher Robin in A. A. Milne's Winnie the Pooh.

    4) Archetype - Charmer- creative, witty, constantly manipulating people. He can find the key to any heart and knows how to please the crowd. Charming is an actor, he constantly plays in his own theater. Example: Ostap Bender in "12 chairs" by I. Ilf and E. Petrov.

    5) Archetype - Lost Soul- lives on past mistakes. Vulnerable, insightful, he sees through people. He is lonely and unsociable and often does not fit into any society. Example: Eddie from "It's me, Eddie" by E. Limonov.

    6) Archetype - Professor- all immersed in work. He is an expert - often with oddities. His credo: logic and knowledge. Example: Sherlock Holmes from the stories of A. Conan Doyle.

    7)Archetype - Seeker of adventures- Can't sit in one place. He is fearless, resourceful and selfish. His curiosity is insatiable, he hates theory and always wants to get to the bottom of the truth - even if it is fraught with danger. He inspires others and solves problems on his own. Example: James Bond from Ian Fleming's Casino Royale.

    8) archetype - Warrior - noble, principled and stern. He knows no mercy in the pursuit of justice. Money and power are of secondary importance to him. He is honest and persistent. Takes revenge on enemies or saves beauties. Example: Edmond Dantes from "The Count of Monte Cristo" by A. Dumas.
    Female archetypes:

    1) Archetype - Boss- requires attention and respect. She is sharp, adventurous and arrogant. Example: Princess Sophia from "Peter I" by A. Tolstoy.

    2) Archetype - Seductress- smart and beautiful, knows how to attract the attention of men. She is cynical and often manipulates people. Appreciates friends for what they can give her. Uses his attractiveness as a weapon. Always plays a part. Example: Lolita from novel of the same name V. Nabokov.

    3) Archetype - brave girl- whole nature, sincere, kind and friendly. She has a great sense of humor and you can rely on her. At the same time, she is skeptical and does not know how to value herself at all. Everyone loves her. IN difficult situations she will always lend a helping hand. Brave and persistent. Example: Natasha Rostova from "War and Peace" by L. Tolstoy.

    4)archetype - Reckless- this lady is eccentric, talkative and impulsive. She tends to exaggerate, is easily distracted, and believes any lie. No discipline. Indifferent to tradition. She wants to try everything herself and often makes decisions based on emotions. Example: Alice from "Alice in Wonderland" by L. Carroll.

    5) Archetype - White and fluffy- naive, touching, a pure soul. She is easy to convince and easy to offend. She is passive and constantly needs a prince on a white horse. Often falls in love with the wrong person, defending himself only in desperate situations. He understands and accepts everyone. Example: Cinderella from the fairy tale of the same name by Ch. Perrault.

    6) Archetype - Librarian- clever, bookish. Persistent, serious, you can rely on her. She is unsociable and tries to hide her feelings from others. Perfectionist. She considers herself ugly and does not even try to seduce anyone. Lives in his own world, loves to learn. Often, serious passions boil in her soul. Example: Miss Marple from the detectives of Agatha Christie.

    7)Archetype - Crusader- fighting for the right cause. Bold, determined, stubborn. Gets out of it quickly. Passionate about business and often forgets about loved ones. She will not go on a date if a protest march is scheduled for the same day. Her goal is always more important than personal experiences. Example: Iskra's mother from the novel "There Was a War Tomorrow" by B. Vasiliev.

    8)Archetype - Comforter- can cope with any task. She will comfort, kiss and give advice. She has iron nerves, but she can't stand being alone. She wants to be needed. Feels best in the family and among close friends. Easily compromises. Often suffering undeservedly. Altruist, idealist and everyday sage. Example: Pelageya Nilovna from the novel M. Gorky's Mother.
    And look at the variety of choices you have archetypes there is room for fantasy. Moreover, as I already noted at the beginning of the article, and archetype sometimes pure, but sometimes mixed, with some kind of dominant. For example, Oksana from N. Gogol's "The Night Before Christmas" is a boss and a temptress.

    Article text

    Sinkova Natalya Aleksandrovna, student of the Institute of Philology of the Federal State Budgetary Educational Institution of Higher Education “Lipetsk State Pedagogical University named after P.P. SemenovTianShansky, Lipetsk [email protected]

    The main archetypes of Russian culture and literature

    Annotation. The article is devoted to the features of the archetype as the dominant image of a literary work, a model for the development of the plot, as well as the main archetypes of Russian culture and literature. The article discusses the main archetypes of Russian culture. The author explains the meaning of the term "archetype" and traces the fate of the key archetypes of Russian classical literature, which originated from the work of A.S. Pushkin. Keywords Keywords: culture, literature, archetype, image, plot.

    The first mentions of the term “archetype” are found in the works of the Swiss psychiatrist Carl Gustav Jung: “The collective unconscious as a repository preserved by human experience and at the same time the very precondition for this experience is the image of the world that was formed back in immemorial times. In this image, over time, certain features crystallized, the so-called archetypes, or dominants. These are the dominant forces, the gods, the images of the dominant laws, regularly repeating events and the principles of general laws that govern the sequence of images that the soul experiences again and again. To the extent that these images are relatively faithful reflections of mental events, their archetypes, that is, their main features, identified in the process of accumulating homogeneous experience, correspond to certain universal characteristics. physical world. Archetypal images can therefore be taken metaphorically as intuitive concepts of physical phenomena. For example, ideas about ether, primordial breath or soul substance, which, so to speak, are widespread in the views of all peoples of the world, and ideas about energy, or magical power, - an intuitive representation that also has a general distribution. The concept, having been formed in psychology, also passed into sociology, cultural studies, and literary criticism. K.G. Jung in his work also noted the complexity of the study and the importance of archetypes, since they have a significant impact, influence. An archetype can be used as an initial model for the development of a plot: World literature has developed certain plot archetypes that are repeated from work to work over the centuries. They can be divided into the following categories: Journey - the heroes go on a journey to find something or someone, or return home. Travelers meet with unusual people and get into unusual situations. For example, such a plot move can be found in Homer's Odyssey, in the poem by N.V. Gogol " Dead Souls". Pursuit - the hero either catches someone or hides himself from the chase. An example is the plot of the novel by F.M. Dostoevsky "Crime and Punishment". Salvation - the hero must be a victim, often unfairly punished. On his own or with the help of friends, he gets out of a difficult situation or suffers undeserved suffering. An example is the plot of the work of N.S. Leskov "The Man on the Watch". Revenge - the hero suffered through someone else's fault and now he is eager to punish the guilty, guided by his sense of justice. An example is the novel A. Dumas "The Count of Monte Cristo", as well as "Wuthering Heights" by E. Bronte. A riddle - the reader is offered a rebus, the solution of which lies on the surface. This plot archetype is used primarily in detective stories. Confrontation. The key point is the confrontation of two forces: either equal to each other, or located in different weight categories. An example is any work of Russian literature about the Great Patriotic War (“Hot Snow” by Y. Bondarev, “Not on the Lists” by B.L. Vasiliev). Growing up - the hero child or teenager grows and learns life. Example: "Childhood. Adolescence. Youth” L.N. Tolstoy, "Childhood of the Theme" by N.M. Garin Mikhailovsky. Temptation - the conflict is based on the emotions of the hero. He understands that he is going to death, but is unable to resist his desires. A peculiar example is the story of A.I. Kuprin "Garnet Bracelet", as well as the fate of Grigory and Aksinya in the novel by M.A. Sholokhov "Quiet Don". Transformation - the hero changes into better side as a result of gaining love, faith, a new ideology, etc. An example is the fate of the heroes of the epic novel "War and Peace" by L. Tolstoy. Love - the heroes meet, fall in love and, having overcome all obstacles, unite their hearts (alternative options: lovers lose each other, one or both main characters die). A vivid example is the story A.I. Kuprin "Shulamith", "Olesya". Sacrifice - the hero sacrifices everything for the sake of high ideals or the happiness of loved ones. An example of such behavior is Sonechka Marmeladova from the novel by F.M. Dostoevsky's Crime and Punishment. Decomposition - the hero is gradually degrading. An example is the fate of the protagonist of O. Wilde's "The Picture of Dorian Gray". Discovery - a person learns the truth about himself or the world around him. For example, this happens in the novel by F.M. Dostoevsky's "Teenager". "From rags to riches" is the story of the rise or fall of a person. Suffice it to recall the fate of Alexei from the novel by P.I. Melnikov Pechersky “In the Forests.” “Like the strongest and most beautiful of all people, a folk hero, indulges in regressive anguish and is deliberately exposed to danger, he himself goes into the mouth of a monster, is absorbed by the abyss of the mother and returns to his original source. But he is not without reason a hero; therefore he does not allow himself to be completely consumed by the monster; on the contrary, he defeats the monster, and not once, but many times. Only after overcoming the collective psychic do we acquire a true treasure - we get an invaluable treasure, we take possession of an invincible sword, a magical talisman, in a word, we find what is a desired good in a particular myth. The one who identifies with the collective psychic or, speaking in symbolic language, allows himself to be devoured by the monster and completely dissolves in it, even though he receives the treasure guarded by the dragon, it is not of his own free will and only to his own detriment. So are certain models of character development. Jung singled out several main such images - "a sorcerer or an evil, dangerous demon", "wise old man" ("wise old woman"), "mother", "shadow", "child". These archetypes are familiar to us from fairy tales, more detailed consideration each of them can be found in the work of V. Ya. Propp "Historical roots of the Russian fairy tale", in the article by V. Lebedko, E. Naydenov "Archetypic study of Russian folk tales". Thus, the Fool archetype, which appears in folk fairy tales The external difference of this hero from all the others lies in the obvious, visible absurdity of speeches and actions and extreme recklessness. With ignorance, he also associates another trait - non-doing, laziness. Older brothers often try unsuccessfully to make it work. Cases of the triumph of stupidity are frequent in folk tales, and the Fool relatively rarely defeats heroes who consider themselves smarter, by cunning: as a rule, his absurd deeds, unexpectedly leading to happiness, are performed contrary to any calculations, as if by some kind of intuition or by someone else's suggestion. Calculations of common sense are defeated not by human intelligence, but by the highest magical wisdom: Either prophetic people or prophetic animals rescue the Fool from difficult situations.

    The actions of the Fool always overturn all the calculations of worldly common sense and therefore seem stupid to people, and yet they invariably turn out to be wiser and more expedient than the actions of his “wise” brothers. The latter fail, and the Fool achieves the best lot in life, as if he guesses wisdom thanks to some prophetic instincts. In general, only magic has real value for the Fool - the help of a wonderful pike, horse, etc. Thus, the Fool embodies a special strategy built not on the correct logical actions, but on the search own decisions, often contrary to common sense, but ultimately bringing success. With the help of magic and non-standard actions, the Fool overcomes all obstacles and reaches the goal. This archetypal image passed from fairy tales to classical literature, and the fool is by no means always a negative character, and attitudes towards him can vary: from mild laughter at oddities, quirks to indignation at the stupidity of such characters, which permeate the works of A.I. Herzen and M.E. Saltykov Shchedrin. As T.B. Radbil, “in Rus', the cult of holy fools is held in high esteem, who know some transcendent truth that is inaccessible to the ordinary mind ... What is the use of planning and taking care of their daily bread, doing practical things, if everything depends on fate beyond my control. What is the use of obeying the rules and focusing on reason in your actions (this is gone), if life is unknowable and strange, wonderful, much of it depends on a miracle, and not on calculation. Sometimes representatives of this type of personality in one or another work in the text of Russian literature are, to a certain extent, all the characters. It is no coincidence that the name of Foolov, which M.E. Saltykov Shchedrin gave the city depicted by him. As a rule, representatives of this archetype are even necessary for the outside world, because it is in comparison with them that the norm becomes more tangible. So, Nozdryov, who is deprived of the ability to develop, because "at thirty-five years old he was the same perfect as he was at eighteen and twenty" (Gogol. Dead Souls), is not dangerous for the general order of life in the city of NN, although he delivers tangible sensations to all his acquaintances. trouble. Thus, archetypes pass from folklore into classical literature. As O.S. Shurupova, "in each text, there is a dialectical interaction of objective and subjective, individual author's consciousness and perception of reality, characteristic of all representatives of a particular culture at a given stage of its development and imprinted in the national language picture peace. Each text assumes its own vision of the world and reflects the process of formation of individual consciousness. However cultural specificity the text is reflected both in its denotative space, that is, in the author's choice of the topic and the narrative program of the text, which may coincide in a number of different texts, and in the significative space, reflecting the features of the individual author's interpretation of things. is very clear on the material of Russian literature, especially since Russian writers themselves, as a rule, claim a much wider scope of worldview problems than their Western European counterparts, a scope comparable to the mythological scale of archetypes. The generally recognized ancestor of Russian classical literature of the XIX century. is A. S. Pushkin. According to the researchers, “through all the works of Pushkin of these years pass, firstly, various images of raging elements: snowstorms (“Demons”, “Snowstorm” and “Captain's Daughter”), fire (“Dubrovsky”), floods (“The Bronze Horseman”), a plague epidemic (“A Feast during the Plague”), a volcanic eruption (“Vesuvius Zeus opened ...” - Chapter 10 of “Eugene Onegin”), secondly, a group of images associated with statues, pillars, monuments, “idols”, thirdly, images of people, living beings, victims or fighters – “a people driven [by fear]” or a proudly protesting person”. These plot archetypes and motifs further found their development in Russian literature. In addition, the “social archetypes” of Russian culture, as well as literature, include: patience, suffering, humility, non-historical, apocalyptic thinking, non-attachment to the material and material things, thirst for a holiday, joy, catharsis, selfless service to the idea and other people, self-sacrifice, love, pity as the basis of voluntary sacrifice. Russian culture “certainly influences both the perception by its bearers of the phenomena of reality and the reflection of these phenomena in the language.” Some archetypes of Russian culture are associated with St. Petersburg and Moscow, the two capitals of Russia. In the national culture, according to O.S. Shurupova, “the tradition of opposing Moscow and St. Petersburg, cold northern capital and noisy, hospitable Mother See. In numerous works created over several centuries and forming the Moscow text of Russian literature, this city shows various, sometimes mutually exclusive features. Firstly, the image of Mother Moscow is archetypal, a city with a feminine and maternal essence, in which the heroes of a number of works of Russian literature, from the novel by A.S. Pushkin's "Eugene Onegin" to modern texts, find their destiny. For works united by the image of Moscow, images of home, family, and a warm family holiday are important. The meaning of the Mother archetype is manifested in the dichotomy of Mother and Stepmother. native mother gives love, warmth and care, while the stepmother is its complete opposite. Note that in Russian folk tales the image of the Stepmother is much brighter than the image of the Mother. The stepmother is an “inverted” negative archetype, it is the Mother, but not the Mother.

    If the goal of the Mother is to protect a defenseless and weak child from any harm, to save him, then the goal of the Stepmother is to take care only of her own child, as opposed to the desire to exterminate and destroy the non-native child. Moscow appears in the works of classical literature not as a cruel city that is harsh towards its inhabitants, but as a city with a maternal essence. Secondly, the archetype of the “goroddev” is also important here. It is no coincidence that the patroness of Moscow as the Orthodox capital of Russia is the Virgin Mary, who protects her city from misfortunes that threaten it. A key feature of the works of Russian literature about Moscow is that the most important, central place among the heroes is occupied by women. “Of course, Moscow in the comedy of A.S. Griboyedov's "Woe from Wit" is far from similar in everything to Moscow, depicted in the novel by L.N. Tolstoy "War and Peace", however, in both texts, a single perception is also manifested ancient capital as the focus of Russian life with all its advantages and disadvantages, which means that these texts, different in genre and time of creation, can be recognized as parts of a single one ", reveal a single archetype of Moscow. "He who speaks in archetypes speaks as if with a thousand voices ..., he raises what he depicts from the world of the one-time and transient into the sphere of the eternal; besides, he elevates his personal destiny to the destiny of all mankind, and through this releases in us beneficent forces, which at all times have given mankind the opportunity to endure all troubles and survive even the longest night. This is the secret of the impact of art ... ".

    Links to sources 1. Jung K. G Psychology of the unconscious / Per. from English. Edition 2e., M .: "KogitoCentr", 2010. S. 112113.2. Ibid. C.113.3. Radbil T.B. Fundamentals of the study of language mentality: textbook. allowance. M.: Flinta: Nauka, 2012. S. 251.4. Shurupova O.S. Textual and supertextual picture of the world // Philological sciences. Questions of theory and practice. Tambov: Diploma, 2013. No 3 (21): in 2 hours. Part II. C. 213.5. Meletinsky E.M. About literary archetypes / Russian State University for the Humanities. M., 1994. 136 p.6. Shurupova O.S. Common and different in Russian and Anglo-Saxon cultures // Profile and professional education in the conditions of modern multicultural space: Proceedings of the Third International Correspondence Scientific and Practical Conference, December 2015 / FSBEI HE “Russian Academy of National Economy and Public Administration under the President of the Russian Federation, Chelyabinsk branch. - Chelyabinsk: RANEPA, Chelyabinsk branch, 2015. P. 150.7. Shurupova O.S. Moscow text and its heroes // Russian speech. 2011. №1. S. 97.8. Shurupova O.S. Features of the methodology for the study of urban supertext // Bulletin of the Tula State University. Humanitarian sciences. 2014. No. 2. P. 297.9. Archetypes, mythologemes, symbols in art picture writer's world: materials of the International Correspondence Scientific Conference (Astrakhan, April 1924, 2010) / ed. G. G. Isaeva; compiled by: G. G. Isaev, T. Yu. Gromova, D. M. Bychkov. Astrakhan: Astrakhan University Publishing House, 2010, p. 89.

    Korobeynikova A.A., Pykhtina Yu.G.

    Orenburg State University E-mail: [email protected], [email protected]

    ON SPATIAL ARCHETYPES IN LITERATURE

    The article analyzes studies on the literary archetype. The authors identify and describe spatial archetypes in fiction. The semantics of the binary opposition house/forest is considered on the example of N.V. Gogol "Old World Landowners".

    Key words: artistic space, literary archetypes, spatial archetypes, binary oppositions.

    IN last decade a number of studies have appeared that analyze the literary archetype. The relevance of such an analysis is associated with the possibility of a deeper and more universal reading of a literary work. Particularly striking examples of such a reading are the works of Yu.M. Lotman, E.M. Meletinsky, V.N. Toporova, B.A. Uspensky and others. The difficulty, however, lies in the fact that there is still no unified classification of literary archetypes. The work of E.M. Meletinsky "On literary archetypes" (1994). The author states with regret that "attempts to present archetypal motifs in the form of a strict system, especially a hierarchical system, lead nowhere" . In this regard, the study of the system of literary archetypes seems promising. The purpose of this article is to define and describe spatial archetypes in the literature.

    EAT. Meletinsky, who proposed the concept of “literary archetypes” and outlined the main ones, did not single out spatial archetypal images separately, but at the same time repeatedly pointed out that “... in mythology, the very description of the world is possible only in the form of a narrative about the formation of elements of this the world and even the world as a whole. This is explained by the fact that the mythical mentality identifies the beginning (origin) and essence, thereby dynamizing and narrating the static model of the world. At the same time, the pathos of the myth quite early begins to come down to the cosmization of primary chaos, to the struggle and victory of the cosmos over chaos (that is, the formation of the world turns out to be at the same time its ordering). And it is this process of the creation of the world that is the main subject

    images and the main theme of the most ancient myths". Thus, according to E.M. Meletinsky, the main archetypal motif, from which all the rest are formed, is the opposition of space and chaos. Our observation is confirmed by the following thought of the author: “In the spatial sense, the cosmos opposes chaos as an internal organized space to the external one.<...>The structure of the cosmos, embodied by the world tree, includes vertically 3 main zones - heaven, earth and underworld, horizontally - 4 cardinal points, often embodied by mythological characters. The existence of the Cosmos (and humanity) is based on the world order, law, truth, and justice.<...>The destructive forces of chaos in the myths of cosmic cycles weaken the action of the world order, which leads to the death of the cosmos (described by eschatological myths) and a new creation.

    In this work, E.M. Meletinsky many valuable observations concerning the archetypical nature of spatial motifs. It is extremely important for us to reveal by the author the archetypal scheme of the hero's journey in folklore and literature: “The theme of creation is connected with dynamics in time. Inside this dynamics or outside of it, the motif of movement in space and the intersection of various zones and worlds (where they contact with mythological creatures, acquire their power or fight with them, get values, etc.) is isolated, which serves as the simplest way to describe the model of the world. Here is the germ of the archetypal scheme of travel (highlighted by the author)" .

    With regard to the motive of the path, the scientist notes: “The hero performs his feats outside the house, on the way-road, some sections of which are mytho-

    logically marked (the forest as the realm of demonic beings, the river as the border various areas, lower and upper worlds, etc.)” .

    For our study, the author’s thought about mythological topography is relevant: “In myth and fairy tale<...>, as well as in the chivalric romance, archetypal travel motifs are common, including forest wanderings, less often sea trips (the latter are more typical for Greek novel), visits to other worlds. These travels, as a rule, are strictly correlated with mythological topography, not only with the opposition of sky, earth, underground and underwater "kingdoms", but also with the opposition of home and forest (the latter is an "alien" world saturated with demons and demonism), with marking the river as a boundary between worlds on land, and so on. and so on." .

    It is obvious that the concept of "literary archetype" is much broader than Jung's archetypes, which "represent mainly images, characters, at best roles and, to a much lesser extent, plots." In this regard, E.M. Meletinsky substantiates the need to introduce a new term - "archetypal motif", by which he understands "a certain micro-plot containing a predicate (action), agent, patient and carrying a more or less independent and rather deep meaning" . The system of archetypal motifs identified by the researcher gives us reason to speak separately about spatial archetypes in the literature.

    Exploring spatial categories, Yu.M. Lotman noted their antiquity and universality: “Every culture begins with the division of the world into internal (“own”) space and external (“their”). How this binary partition is interpreted depends on the typology of the culture. However, such a division itself belongs to universals. An important attribute of such “breaking”, according to the scientist, is the border: “...this border can be defined as a line where the periodic form ends. This space is defined as “ours”, “ours”, “cultural”, “safe”, “harmoniously organized”, etc. He is opposed by "their-space", "foreign", "hostile", "dangerous", "chaotic".

    The work of D.A. Schukina "Space-

    stvo in a literary text and the space of a literary text” (2003). The author considers the main characteristic of the “archaic concept of space” to be the awareness of space as “a territory of existence, habitation, delimited from external space, from the rest of the world.<.>The world begins to be divided into "own" space (small, demarcated) and "alien". Thus, in the worldview of the ancients, the binary opposition “one's own - someone else's” appears, fundamental in its importance. The developed territory, “their own” world, was characterized by heterogeneity: sacred space (center) and profane space (periphery) stood out in it. The sacred center “was marked with an altar. and then a temple, on the basis of which an abstract idea of ​​the world axis, the world tree (top - bottom) was formed. This is how a delimited, oriented and measured space arose.<...>Early spatial representations were entrenched in mythology. It is in myths that the spatial model is clearly structured on the basis of a system of "binary oppositions, fundamental oppositions, archetypal codes: one's own - someone else's, up - down, life - death, space - chaos, etc." .

    For the first time spatial archetypes as separate group were considered in the monograph by Yu.V. Domansky "The meaning-forming role of archetypal meanings in a literary text" (2001). By distributing archetypal motifs into “motifs associated with descriptions of nature, the elements of the universe; motives that are directly correlated with the cycle of human life, key moments and categories in human life, and motives that characterize a person’s place in space”, the researcher analyzed six ordinary motives: blizzards and seasons, orphanhood and widowhood, forests and houses.

    Note that the typology of Yu.V. Domansky is based not only on the thematic, but also on the functional meaning of the archetype. This position the author argues that “in the modern interpretation, the archetype embodies the primordial universal values, the universal moral ideas of a person about the world, which does not contradict the unconscious and non-evaluative nature of the archetype in the archaic myth. In relation to modernity, we can even argue that the archetype, no matter how it contradicts its own logic, is a synonym for uni-

    versal morality, inherent in man from the very beginning. Guided by this provision, the author identifies several types of functioning of the archetypal meaning in the literature, namely:

    Preservation of the entire bundle of semes of the archetypal meaning of the motif;

    The dominance of any semes of archetypal meaning;

    Inversion of the archetypal meaning of the motive as an indicator of the character's originality;

    Inversion of the archetypal meaning of the motive as an indicator of deviation from the universal moral values;

    The combination of different semes of archetypal meaning in the assessments of one character.

    Analyzing the work of M.I. Tsvetaeva, N.S. Kawakita mainly characterizes the traditionally distinguished archetypes: archetypes correlated with the sphere of empirical existence (the embodiment of the archetypal features of the Anima, Animus, Child, Mother, Spirit-Father), and archetypes correlated with the sphere of supra-empirical existence (features of the archetypal Spirit and Self ). At the same time, he connects the spatial archetypes of the Mountain and the tree world (forest) with the archetype of the Self. The main thing in their symbolism, according to the researcher, is the idea of ​​personal growth "dynamism, upward aspiration, fusion of different into a whole" . N.S. Kawakita notes that “mountain symbolism penetrated into the work of M. Tsvetaeva in the 1920s, organically included in the general system of the poetic cosmos. At the same time, the poet "adapts" the concept of "mountain" to this cosmos, mainly two semes remain effective: 1) loftiness (literal and metaphorical meanings); 2) "insurmountability", "gravity" of the rock" - both literal, physical, and figurative.<...>"Mountain" serves as a kind of "unit of measurement" for a number of aesthetic and ethical categories of M. Tsvetaeva's artistic system. Describing the "tree world" of M. Tsvetaeva, N.S. Kawakita notes that “the opposition of the two worlds still retains modeling functions, however, the heroine’s understanding of the world of trees is gradually deepening: the opposition “sacred - profane” is added to the highlighted ones. Now her perception connects the world of nature with the world of the supra-empirical, it is no coincidence that the poem includes images that represent chri-

    Stian and pagan ideas about the sacred: “Forest! - Elysium is mine! ”,“ light sacrificial fire Groves ”,“ tree ”carries“ prophetic news ”.

    Revealing the functions of archetypes and archetypal images in the works of P.V. Zasodimsky, E.Yu. Vlasenko describes personal archetypes and motives, which includes the archetypes of a cultural demiurge hero, trickster, werewolf, Baba Yaga, orphans, widows and spatial archetypes (house, garden, hell and paradise). The author believes that traditional spatial landmarks are filled with symbolic meaning and acquire a universal, universal connotation thanks to the “powerful philosophical problems” of the works of P.V. Zasodimsky. In our opinion, the images of the house, the forest, hell and heaven are quite convincingly considered as archetypical, representing the realization of the binary oppositions "internal - external", "own - alien", "chaos - space" .

    The work of N.I. Vasilyeva "Folklore archetypes in modern popular literature: the novels of J.K. Rowling and their interpretation in youth subculture» (2005). Among the archetypal motives described by the researcher, an important role is played by spatial ones, primarily the motive of “overcoming the threshold”: “After the hero learned about the misfortune / misfortune and decided to do something (see “absentee” in V.Ya. Propp’s scheme) or but - more widely - felt the "call for adventure" and somehow reacted to it,<...>he sets off on a journey and sooner or later must meet with the guardian of the threshold to the other world, and then cross this threshold. It should be noted that the other world itself, as well as the intermediate, border zone, according to the author, are somehow connected with archetypal spatial motifs: world related to the hero.<...>It is not at all necessary that some “kingdom-state” plays the role of the other world - usually it is a castle / palace, and some traditional border locus is often attached to it, that is, for example, a castle on a mountain / in the mountains, a castle in a forest, a castle near rivers, castle / palace under the earth / in the skies. On the whole, con-

    states N.I. Vasiliev, "it is not difficult to explain the diversity of what is depicted, the heterogeneity resulting from the transformation of the traditional understanding of the fairy-tale universe as the opposition of "one's own" world - "foreign" world" .

    I.N. Nevshup in his dissertation research “Roman F.M. Dostoevsky's "Adolescent": types and archetypes" (2007) analyzes the archetype of the "teenager" (cf. C. G. Jung's archetype of the child) and the archetypal motifs of duality, selfishness, pride, demonism, wandering, prudence, wandering. Describing the archetypal motifs that are directly related to personal images in Dostoevsky, the researcher turns to the clearly spatial opposition wandering / wandering, without focusing, however, on the fact that both elements of this opposition go back to the archetype of the path. European "wanderer" I.N. Nevshup calls Versilov a pilgrimage wanderer - Makar Ivanovich: “Versilov is a European wanderer with a Russian soul, ideologically homeless both in Europe and in Russia. Makar is a Russian wanderer who set out on a journey through Rus' in order to know the whole world: all of Russia and even the whole universe is his home. Versilov is the highest cultural type of a Russian person. Makar is the highest moral type of a Russian person from the people, a kind of folk saint.

    In "The Existential Archetype in art space modern Russian prose” (2006) S.G. Barysheva proposes to divide existential archetypes into two groups: “ontic” (M. Heidegger’s term) and epistemological. “The works, where there are ontic archetypes, are built according to existential canons (the presence of an existential hero, the presence of a borderline situation, etc.).<...>Epistemological archetypes, due to their specificity, can be found not only in works of an existential orientation, but also in works of various styles and trends. The author notes that “existential archetypes are woven into the fabric of the novel very unobtrusively, where writers turn to eternal categories: life - death, good - evil, faith - unbelief, which grow into images of symbols. Existential archetypes reflect the worldview of artists, their aspirations, ideas about moral values, according to which the Man, his personality, aspirations are placed above all else.

    to know oneself, perseverance in the struggle with oneself. In his work, S.G. Barysheva refers to the ontic archetypes of Nausea, Emptiness, Disease, Insect, Heaviness. Among the epistemological ones, he singles out the archetypes of the Way (archetypes of the Road, City, Borders) and Truth (archetypes of the House, Window, Forest, Water). As you can see, most of the archetypes, called epistemological by the author, are essentially spatial.

    Our analysis of the works of the classics domestic literary criticism and modern scientists allows us to draw the following conclusion: the study of the main archetypes identified by K.G. Jung, does not do without a description of spatial categories.

    By spatial archetypes, we mean universal human spatial images that are unconsciously transmitted from generation to generation, penetrating the entire fiction from mythological origins to the present and forming a permanent fund of plots and situations. We focus on the fact that spatial archetypes tend to act in pairs, in the form of binary oppositions. Thus, in our opinion, it is necessary to refer to the spatial archetypes, first of all, the antinomic pair space / chaos, which is the basis for other spatial oppositions, such as: house / forest (safe space / dangerous space), house / road (closed space / open space), home/anti-home (one's own space/alien's space), etc. Consequently, the image of the border is also endowed with archetypal meaning - a spatial boundary separating one's own and another's worlds.

    Further, it should be noted that the archetypal universal semantics and value status are also acquired by some parameters of space, for example, cardinal points or spatial axes: vertical and horizontal. This position is confirmed by the opinion of many researchers about the stability of the archaic spatial model, which includes binary oppositions (own / alien, up / down, south / north, etc.), the sacred center and profane space, as well as objects and phenomena, the archetypal significance of which is associated with ancient cultural tradition.

    Consider the semantics of the archetypal spatial opposition house/forest. It is known that the spatial representations of the ancient man were embodied primarily in the arrangement of the dwelling, its four-membered structure reflected the four-membered model of the world. “The four sides (4 walls, 4 corners) of the dwelling with a tree in the center surprisingly accurately repeat the verbal and pictorial texts that describe the four-term models of the world (of different cultural traditions)” . The building ritual, as a way of developing and organizing space, included a "ritual struggle between the owners and carpenters" . Based on this observation, A.K. Baiburin correlates the ritual itself “with a whole class of texts<...>whose dialogic structure reproduces the archetype of the struggle between chaos and cosmos. The dwelling thus embodied "a reduced model of space, the world<...>reality acts as an imitation of the heavenly archetype; artificial objects (settlements, temples, dwellings) become sacred, as they are identified with the "center of the world"; rituals and significant profane actions are endowed with a certain meaning because they are consciously performed by gods, heroes and ancestors.

    As a rule, the image of a house in literature has an archetypal semantics if it realizes the meaning of a closed internal space that gives peace, security and reliable protection; the value of the focus of universal life values- such as happiness, well-being and harmony in the family, material wealth.

    In our opinion, a classic example of the use of the spatial opposition house/forest in Russian literature is the story

    N.V. Gogol "Old World Landowners". The space (house) in which the hospitable old men live can be described as closed, fenced off from the outside world as follows: a ring of huts - a garden - a border-wattle fence - a courtyard with a palisade - a forest. The main feature of this "home" space is hospitality and goodwill. Comfort is the law of the inner world. In the closed world of the old people, nothing happens. All actions are not related to the past and not to the present, but represent a repeated repetition of the same thing. The course of the peaceful life of the old-world landowners changed

    Following the departure of Pulcheria Ivanovna's beloved cat from home, unexpected strong anxiety comes from the forest, a space external to the peaceful dwelling of the old people.

    The forest in the story is also endowed with archetypal features: it is located outside the warm, cozy, limited by trees, wattle fence, palisade, gallery, singing doors, narrow windows of the inner world of old people. For old-world landowners, the forest is a mythological space. It is marked as a place that carries destructive functions, causing a person to feel fear and anxiety.

    Thus, the house and the forest in the story are two opposite spaces. The archetypal features of the house are comfort, security, happiness, abundance, love, cordiality; forests - anxiety, danger, the abode of mysterious wild cats. The unchanging inner space of happiness and comfort is catastrophically destroyed as a result of the invasion of a dangerous chance from the alien space of the forest (myth). There is a spatial opposition external - internal = dangerous - safe.

    Reviewed by us literary example shows that the forest has archetypal semantics, since it realizes the meaning of a place that poses a danger, a threat to a person, gives rise to a feeling of fear in him, is the place (or cause) of a person’s death.

    World mythology often represents the forest as a border zone between world of the dead and the world of the living, so it was here that initiation rites were held. “The rite of passage was always carried out in the forest. This is a constant, indispensable feature of him throughout the world. In general, ideas about the forest as an environment underworld, the kingdoms of the dead date back to Antiquity and are literary recorded by Ovid and Virgil, and then penetrate into European literature.

    In Slavic mythology, the forest also played a significant role. ancient man he was aware of his helplessness and vulnerability before the cruel forces of nature, and the forest was considered the most hostile. The following observation is indicative in this respect: “A man, leaving his house in the forest<...>tuned in to a constant struggle with unforeseen circumstances and merciless elements; On the other hand, you can always

    count on the unexpected help of the forest deity, the forest owner, so I tried to please him: do not harm the forest, do not beat animals unnecessarily, do not break trees and bushes in vain, do not litter the forest, do not even shout loudly, do not disturb the peace and quiet of nature.

    A.A. Skoropadskaya, tracing the history of the image of the forest in world culture, notes that this image plays a complex and ambiguous role in the Old Testament tradition: “Very often in the Old Testament it is the image of a numerous people. This is a kind of metaphor: a people consists of a large number people are exactly the same, each person is different from the other in the same way that trees are different from each other.<...>In the Old Testament, the forest can also act as a protector of God's chosen ones.<...>With the emergence of Christianity, the image of the forest acquired new shades of meaning, retaining many pagan ideas. The significance of the forest as a sacred place is preserved, but instead of pagan rites, Christian ones begin to be held here. They began to install chapels or crosses in the forests, hang icons on the trees, in this way the forest and the temple were likened.

    Researcher D.Kh. Billington sees another meaning of the forest: “it was the virgin forest thicket that was the cradle of the great Russian culture<...>The forests were like an evergreen curtain, in initial period the formation of a culture that protected consciousness from more and more distant worlds - Byzantium and the urban West.

    In addition, the spatial archetype “forest” has the following meaning: “a place where a person is not able to do anything and is completely forced to rely on a higher intervention in his destiny; at the same time, a person is afraid of the forest, because he does not know his will in relation to himself. Therefore, the semantic characteristics of the forest can be considered: the hostility of a part of the space, the opposition to all

    List of used literature:

    other horizontal topoi, a shelter for the innocent persecuted.

    A specific feature of the spatial opposition house/forest is the presence of a boundary. The expressiveness of this spatial archetype was convincingly written by Yu.M. Lotman: “In The Old World Landowners, the structure of space becomes one of the main means of expression. The entire artistic space is divided into two unequal parts. The first of them - almost not detailed - "the rest" of the world. It is vast and vague. This is the narrator's place of residence, his spatial point of view.<...>The second is the world of old-world landowners. The main distinguishing feature of this world is its isolation. The concept of a boundary that separates this space from that one has the utmost distinction, and the whole complex of ideas of Afanasy Ivanovich and Pulcheria Ivanovna is organized by this division, subordinate to it. This or that phenomenon is evaluated depending on its location on this or that side of the spatial boundary.

    Thus, the following can be considered as spatial archetypes that permeate all literature from antiquity to the present:

    1. Space/chaos as a fundamental antinomic pair and all its variants: house/forest, house/road, house/anti-home, heaven/hell, sky/earth, city/village, capital/province, etc.

    2. The border as a spatial boundary that takes place in any spatial opposition: a threshold, a window, a gate, a river, etc.

    3. Space parameters with universal semantics: cardinal points (south/north, west/east); spatial axes (vertical and horizontal); sacred center and profane space, etc.

    1. Meletinsky, E.M. About literary archetypes / E.M. Meletinsky. - M.: RGGU, 1994. - 136 p.

    2. Meletinsky, E.M. Cosmos // Mythology: Big Encyclopedic Dictionary / ch. ed. EAT. Meletinsky / E.M. Meletinsky. - M.: Great Russian Encyclopedia, 1998. - 736 p.

    3. Lotman, Yu.M. Inside thinking worlds/ Yu.M. Lotman // Lotman Yu.M. Semiosphere. - St. Petersburg: "Art-SPB", 2000. -704 p.

    4. Schukina, D.A. Space in a literary text and the space of a literary text / D.A. Schukin. - St. Petersburg: SPGGI, 200Z. - 218 p.

    5. Domansky, Yu.V. The meaning-forming role of archetypal meanings in a literary text. Special course guide. 2nd edition, corrected and enlarged. (Literary text: problems and research methods; Supplement) / Yu.V. Domansky. - Tver, 2001. - 94 p.

    6. Kawakita, N.S. The problem of the archetype in the creative experience of M.I. Tsvetaeva: Dis. ... cand. philol. Sciences: 10.01.08 / N.S. Kawakita. - M., 2004. - 200 p.

    7. Vlasenko, E.Yu. The functions of archetypes and archetypal images in the works of P.V. Zasodimsky: Dis. ... cand. philol. Sciences: 10.01.01 / E.Yu. Vlasenko. - Ulyanovsk, 2005. - 163 p.

    8. Vasilyeva, N.I. Folklore archetypes in modern popular literature: novels by J.K. Rowling and their interpretation in youth subculture: Dis. ... cand. philol. Sciences: 10.01.03, 10.01.09 / N.I. Vasiliev. - N. Novgorod, 2005. - 243 p.

    9. Nevshupa, I.N. Roman F.M. Dostoevsky "Teenager": types and archetypes: Dis. ... cand. philol. Sciences: 10.01.01 / I.N. Nevshup. - Krasnodar, 2007. - 179 p.

    10. Barysheva S.G. Existential archetype in the artistic space of modern Russian prose: Dis. ... cand. philol. Sciences: 10.01.01 / S.G. Baryshev. - Magnitogorsk, 2006. - 201 p.

    11. Baiburin, A.K. Dwelling in the rituals and ideas of the Eastern Slavs / A.K. Bayburin. - M.: Languages ​​of Slavic culture, 2005. - 224 p.

    From Wikipedia, the free encyclopedia

    literary archetype- frequently repeated images, plots, motifs in folklore and literary works. According to the definition of Bolshakova A. Yu., a literary archetype is a “through”, “generating model”, which, despite the fact that it has the ability to external changes, is fraught with an unchanged value-semantic core.

    Archetype Research

    The problem of artistic refraction of archetypes in a literary work attracted the attention of researchers of the 20th century. Archetypal prototypes, or proto-forms, as C. G. Jung defined them, being a manifestation of the "collective unconscious", accompany a person for centuries and are reflected in mythology, religion, art. Many literary and artistic images and/or motifs grow out of a certain archetypal core, conceptually enriching its original "scheme", "crystal system" (K. G. Jung). In the first half of the 20th century, in line with the psychoanalytic studies of Z. Freud, the identification of echoes of mythopoetic consciousness in various cultural levels becomes almost dominant (the mythological and ritual approach of J. J. Frazer, the ethnographic approach - L. Levy-Bruhl, the symbolological approach - E. Cassirer, the structural anthropology of K. Levi-Strauss). Mythological criticism of the second half of the 20th century builds its research in line with two concepts - relatively speaking, Frazer's (mytho-ritual) and Jungian (archetypal). Representatives of the ritual-mythological school - M. Bodkin (England), N. Fry (Canada), R. Chase and F. Watts (USA), - firstly, were engaged in the discovery of conscious and unconscious mythological motifs in literary and artistic works and, secondly, they paid great attention to the reproduction of ritual schemes of initiation rites, equivalent, in their opinion, to the psychological archetype of death and new birth. During the same period, literary criticism was becoming increasingly aware that it was not so much the reconstruction of the mythopoetic layer that was no less important in the analysis of a literary and artistic work, but rather the determination of the ideological load of certain archetypal components. Already M. Bodkin herself notes the paradigm of changes in basic archetypes, a kind of outgrowth of them in the course of historical and literary development in literary forms, where typological repetition becomes the most important feature (“long lines”, as the researcher called them). Following Bodkin, A. Yu. Bolshakova speaks about the high degree of generalization and typological stability of the literary archetype. Jungian interpretation of the archetype in literary criticism Soviet period considered S. S. Averintsev (the article “Analytical Psychology” by C.-G. Jung and patterns creative imagination”) and E. M. Meletinsky (the book “Poetics of Myth”). Researchers come to the conclusion that the term "archetype" denotes the most general, fundamental and universal mythological motifs that underlie any artistic and mythological structures "already without the obligatory connection with Jungianism as such" . E. M. Meletinsky (“The Poetics of Myth”, “Analytical Psychology and the Problem of the Origin of Archetypal Plots”), A. Yu. century, a trend is developing towards the transition from a purely mythological and psychological understanding of the archetype to the adoption of a literary archetype model.

    Models of literary archetype

    A. Bolshakova in the article "Literary archetype" identifies several meanings of "archetype" as a literary category:

    1. writer's individuality (for example, scientists speak of Pushkin as an "archaic archetype of a poet");
    2. "eternal images" (Hamlet, Don Juan, Don Quixote);
    3. types of heroes ("mothers", "children", etc.);
    4. images - symbols, often natural (flower, sea).

    One of the main properties of a literary archetype is its typological stability and a high degree of generalization. According to A. A. Faustov, an archetype can mean “a universal image or plot element, or their stable combinations different nature and different scale (up to the author's archetypes)" .

    In the literary works of the 20th century, the transforming authorial principle takes the first place, and the mythopoetic and psychological core of this or that archetype is experiencing an increasing conceptual “tension” of the entire system of artistic coordinates. Under the influence of historical and social changes, the literary archetype is increasingly showing the actual meaning, "embedded" in artistic intent and implemented in the work. The concepts of “home”, “road” and “child” can serve as examples of fundamental archetypes at the psychological and general cultural levels. These archetypal principles, judging by their frequency, seem to be dominant in a literary and artistic work.

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    Notes

    Literature

    • Averintsev S. S. Archetypes // Myths of the peoples of the world. Encyclopedia: in 2 volumes / ch. ed. S. A. Tokarev. - M .: Soviet Encyclopedia, 1992. - T. 1 A-K. - pp. 110-111.
    • Dmitrovskaya M. A. Transformation of the archetype of the house, or the meaning of the finale of V. Nabokov's novel "Mashenka" // Archetypal structures of artistic consciousness: Collection of articles. - Ekaterinburg: Ural University, 2001. - Issue. 2. - S. 92-96.

    An excerpt characterizing the Archetype (literature)

    Princess Mary looked at her brother in surprise. She didn't understand what he was smiling at. Everything her father had done aroused in her awe that was beyond negotiation.
    “Everyone has their own Achilles heel,” continued Prince Andrei. “With his great mind, donner dans ce ridicule!” [succumb to this pettiness!]
    Princess Mary could not understand the boldness of her brother's judgments and was preparing to object to him, when the expected steps were heard from the study: the prince entered quickly, cheerfully, as he always walked, as if deliberately with his hurried manner representing the opposite of the strict order of the house.
    At the same instant, the big clock struck two, and others echoed in a thin voice in the drawing-room. The prince stopped; from under thick drooping eyebrows, lively, shining, stern eyes looked around at everyone and stopped at the young princess. The young princess experienced at that time the feeling that the courtiers feel at the royal entrance, the feeling of fear and reverence that this old man aroused in all those close to him. He stroked the princess on the head and then, with an awkward movement, patted her on the back of the head.
    "I'm glad, I'm glad," he said, and, still looking intently into her eyes, he quickly walked away and sat down in his place. - Sit down, sit down! Mikhail Ivanovich, sit down.
    He showed his daughter-in-law a place beside him. The waiter pulled out a chair for her.
    - Go, go! said the old man, looking at her rounded waist. - Hurry up, not good!
    He laughed dryly, coldly, unpleasantly, as he always laughed, with one mouth and not with his eyes.
    “You have to walk, walk, as much as possible, as much as possible,” he said.
    The little princess did not hear or did not want to hear his words. She was silent and seemed embarrassed. The prince asked her about her father, and the princess spoke and smiled. He asked her about common acquaintances: the princess became even more animated and began to talk, conveying to the prince bows and city gossip.
    - La comtesse Apraksine, la pauvre, a perdu son Mariei, et elle a pleure les larmes de ses yeux, [Princess Apraksina, poor thing, lost her husband and cried out all her eyes,] she said, more and more animated.
    As she revived, the prince looked at her more and more sternly, and suddenly, as if he had studied her enough and formed a clear idea about her, turned away from her and turned to Mikhail Ivanovich.
    - Well, Mikhail Ivanovich, Buonaparte is having a bad time with us. How did Prince Andrei (he always called his son that in the third person) told me what forces were gathering on him! And we all considered him an empty person.
    Mikhail Ivanovich, who resolutely did not know when we had said such words about Bonaparte, but who understood that he was needed to enter into a favorite conversation, looked at the young prince in surprise, not knowing himself what would come of it.
    He is a great tactician! - said the prince to his son, pointing to the architect.
    And the conversation turned again to the war, about Bonaparte and the current generals and statesmen. The old prince, it seemed, was convinced not only that all the current leaders were boys who did not understand the ABCs of military and state affairs, and that Bonaparte was an insignificant Frenchman who had success only because there were no Potemkins and Suvorovs to oppose him; but he was even convinced that there were no political difficulties in Europe, there was no war, but there was some kind of puppet comedy that was played current people pretending to do the deed. Prince Andrei cheerfully endured his father's mockery of new people and with apparent joy called his father to a conversation and listened to him.
    “Everything seems good as it was before,” he said, “but didn’t the same Suvorov fall into the trap that Moreau set for him, and didn’t know how to get out of it?
    - Who told you? Who said? shouted the prince. - Suvorov! - And he threw away the plate, which Tikhon quickly picked up. - Suvorov! ... Having thought, Prince Andrei. Two: Friedrich and Suvorov ... Moreau! Moreau would have been a prisoner if Suvorov's hands were free; and in his arms sat hofs kriegs wurst schnapps rat. The devil is not happy with him. Here you go, you will recognize these Hofs Kriegs Wurst Raths! Suvorov did not cope with them, so where is Mikhail Kutuzov to deal with? No, my friend,” he continued, “you and your generals cannot manage against Bonaparte; you need to take the French so that you don’t know your own and beat your own. The German Palen was sent to New York, to America, for the Frenchman Moreau,” he said, alluding to the invitation that Moreau had made this year to enter the Russian service. - Miracles! ... Were the Potemkins, Suvorovs, Orlovs Germans? No, brother, either you all went crazy there, or I survived out of my mind. God bless you and we'll see. Bonaparte they have become a great commander! Hm!…
    “I’m not saying anything so that all orders are good,” said Prince Andrei, “only I can’t understand how you can judge Bonaparte like that. Laugh as you like, but Bonaparte is still a great commander!
    - Mikhail Ivanovich! - shouted old prince to the architect, who, having taken up the roast, hoped that he had been forgotten. “Did I tell you that Bonaparte is a great tactician?” Vaughn and he says.
    “Yes, Your Excellency,” replied the architect.
    The prince laughed his cold laugh again.
    - Bonaparte was born in a shirt. His soldiers are excellent. Yes, and the first he attacked the Germans. And only the lazy did not beat the Germans. Since peace has been standing, the Germans have been beaten all the time. And they are nobody. Only each other. He made his glory on them.
    And the prince began to analyze all the mistakes that, according to his concepts, Bonaparte made in all his wars and even in public affairs. The son did not object, but it was clear that no matter what arguments were presented to him, he was just as little able to change his mind as the old prince. Prince Andrei listened, refraining from objections and involuntarily wondering how this old man, sitting alone for so many years without a break in the country, could know and discuss all the military and political circumstances of Europe in recent years in such detail and with such subtlety.
    “Do you think I, old man, don’t understand the real state of affairs?” he concluded. “And that’s where it is for me!” I don't sleep at night. Well, where is this great commander of yours, where did he show himself?
    “That would be long,” answered the son.
    - Go to your Buonaparte. M lle Bourienne, voila encore un admirateur de votre goujat d "empereur! [here is another admirer of your servile emperor ...] - he shouted in excellent French.

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