Myth as a word (this is the meaning of Greek "mythos") was born together with painting on the walls of Paleolithic caves along with singing and dating their inhabitants as part of the ritual. The development of the Greek myth occurs in other conditions - the caves have long been changed to the huts, houses, palaces and temples, stone guns - metal, instead of fingers, artists began to use the brush, even solid rocks of stone, dishes made with the help of a pottery circle were available, not only durable, but also perfect in shape.

Myth gives the themes for ceramics, sometimes used in the burial rites. Gomer's contemporaries were huge vessels decorated with paintings of geometric style, some researchers found a discrepancy between the high technique of gomer stying and "primitivism" of geometric paintings. However, this is not primitivism, but symbolism, far from primitive illustration of mythological plot. Recall that Homer was not a simple retellor, but by the converter myths.

At the Attic Crater VIII century. BC e. A forty-contemplate ship with rowing figures sitting in two rows and a man and a woman who are out of the ship, whose growth is more than in five figures of sitting are depicted. The drawing is called the first researchers "climbing the ship". But on the ship for these giants, there was no place left. Was this amphora was an offer to Kenotaf, delivered by the sailors of the Power Ship? In this case, big figures are mournful gods.

To the first quarter of the VII century. BC e. The largest vessel of a geometric style, signed by clicking and Ergotim, called "Queen VAZ" or, named by the opener, is Francois Vaza. He is an encyclopedia of Greek mythology. In six pictures belts are presented Kalidon hunting, the game in honor of the Patrole, the pursuit of Achilla for Troil, the battle of Pygmeev with cranes and many other plots.

Vase Francois, created by Greek artists, was found in the Etruscan monumental tomb. In Etruria, the Greek myth gained a favorable soil. Regardless of who was the artist - the Greek-migranet or the indigenous etru, the interpretation of the same myth in Etruria and in the actual Greece differs not so much the fact that the Greek names were transmitted to them with the corresponding Etruscan, but a special orientation that takes into account the environment in which images There should have been going on, the mood of society as a whole and its individuals, aristocracy, simpleness, as well as local addictions to those or another heroes.

In the V-IV centuries. BC e. When various art types of painted ceramics existed in Greece, the myth penetrates the Greek life. The gods and heroes depicted on the walls of the vessels become participants in the Greek feasts and a favorite game in Cottab. Together with drinking and food enriched with vision, imagination, spirit. Greek recognized his gods and heroes "in the face" and got used to their new realistic appearance for him.

At the same time, the plots of Greek myths were written monumental paintings by polygnot, Parracia, Appelles and many other artists, which were exhibited in public places. None of these works has been preserved. But their detailed descriptions in the work of the "Description of Eldla" and the book of Philostrat "Pictures", allow us to imagine not only the skill and manner of artists, but also various variants of myths. Monumental painting influenced images of mythological plots on vases.

The creation of a new polis era was the temple thoughtful to the habitat of the Divine and Space in Miniature. His columns, original wooden, saw many goddesses and gods like Nymph, Kuredov, Coribants. And the statues of the gods retained a long time a columnal form. The triangle formed by extreme logs of a roof, the fronton, began to be used to express the art of certain mythological ideas and motifs. At the front of the temple of Artemis on Kerkira, Gorgon is depicted surrounded by a smaller panther. With her repulsive appearance, she was called upon to scare away from the dwellings the Gods death and any evil. The frontones and metops of the archaic temples were decorated with images of the episodes of Greek myths - the abduction of the doskurists of the bull, giantaehi, the exploits of Hercules and Tenese, etc. In the temple itself, the place was allocated for the statuaries of the deities having lived in them. In the second half of the V c. BC e. There were ambitious stones from marble, gold and ivory, creating a majestic look of Zeus, Athens and other Olympic gods, comparable to the power of influence on believers with the works of Homer.

Victims of Greek mythology. These are cult statues and figurines that served offering (guidelines), mythological scenes reproduced on the friezes and fronstones of temples, vessels, funeral steles, mosaics, frescoes, mirrors, carved stones (gemmahs), coins and a variety of artistic craft items. Mythology throughout the centuries-old history of the ancient world gave the art of ideas, topics, images, regardless of whether or not believed in the gods, a primitive or developed society was.

Of course, artists, sculptors, engravers that created works on mythological topics have experienced the influence of classical mythological texts. But if they created not the objects of an antique "shirpotreb", but worked on the temples, the palaces, public buildings, on rich customers, they gave the myths their interpretation. They created great creations, competing with literary works on mythological topics.

From here there is a number of challenging problems when using works of art as a source of study of myths. It is very difficult to say whether the discrepancies between works of art on mythological topics and literary presentation of the myths of the artist's fantasy, the liberty of its approach to their tasks, insufficient awareness or use did not reach us an option of myth. In each case, modern art historian has to answer these questions. These answers, in turn, depend on the belonging of researchers to one or another schools, from their preparation.

Mythological criticism originated in Europe, but at the moment the most common became in the US literary criticism. Mythocritic has some advantages over other critical schools due to their "sociability", because mythocritics often use the achievements of psychoanalysis, "new" structuralism and semantic-symbolic criticism. The basis of mythological criticism is the principle of finding out mythological reproductions in artwork works of later eras. Appeal to the origins of the literature expands and deepens our perception and understanding of artistic values. In many cases, such an approach is simply necessary.

The myth always attracted researchers. If we talk about the interpretation of myth, then it existed in ancient Greece. For example, Pythagoras argued that the myths showed a philosophical-allegorical perception of nature, and Evgeman saw the myths of adorable heroes in the heroes, which once really existed.

For Jen's romantics, the myth was a certain highest form of human spirit and art. This romantic idealization of the myth affected the whole cultural life Germany in the XIX and XX Art. Famous work Ya. Grimma "German Mythology" (in 1875) laid the beginning of the mythological method of research of folklore. Supporters of this theory tried to trace how this or other folklore image of his mythological prototype grows.

New interest in myths grew up in the Renaissance. In Hui-Huiii Art. The high cultural value of the myth was noted by B.Fontelel, J. Viko, I. Merder. B.Fontelel was looking for the basis of myths in the primitive retardation of intellect, in philosophical ignorance and considered the myth product of the first, "children's" stage in the development of humanity.

The problem of "Art and Myth" became the subject of special scientific consideration mainly in the literature of the XX Art., Especially in connection with the "remipalization" in Western literature and culture (the beginning of the XX Art.). But this problem was set before.

J. Veko put forward the thought of cyclics, about the "return" of times and allocated three stages in each cycle. The first of these stages was "divine" and "poetic", when all people were poets (again through the weakness of intellect and unlimited imagination). In the theory of J. Ekteo, we also see an interest in the language of long-time translations (later Max Muller uses this when creating a linguistic concept of the myth): he believed, in particular, that, at the first stages of his development, people were understood with the help of a hieroglyphic and symbolic language, gesture, signs, signs, That is, the language was essentially figurative, metaphorical, highly emotional, that is, poetic. Prosaic language, he believed, - the product of the highest civilization. The researcher determined myths as "fantastic universals", opposing them later rational and philosophical universal.

Mythology in literature

Images of ancient Greek mythology were still used by antique authors, thanks to the works that had reached us and we knew about many heroes of ancient Greek mythology. These images fell in favor of Europeans with their comprehension, and many writers once again and again came back to them. Among the heroes of EDIP, Medea, Fedra, Electra, Antigone, Odyssey, Prometheus, and many others are among those popular until today's heroes.

Vasnetsov, Victor, Sirin and Alkonost, Birds of Joy and Sorrow

Mythology in Fine Arts

Artists of different eras and styles did not care for their attention ancient Greek mythology. And although in the Middle Ages, painting focused mainly on Christian plots, in the era of the revival of painters with great enthusiasm began to portray mythological plots on their canvases. In the era of modernity, against the background of general changes in visual art, interest in classical mythological plots are somewhat dried, but an interest in the mythical monsters, the images of which are actively used in contemporary art.

Russian painters traditionally appealed to the theme of Slavic mythology, portraying in their paintings as epic heroes and the mythical beings of Slavic mythology.

Studying mythology

First stage

Antiquity

The first attempts of rational rethinking of mythological material, solving the problem of the relationship of rational knowledge to mythological narratives have already been made in antiquity. The dominant interpretation of myths was the dominant (at the Sofists, at the Stoikov, who had seen the personification of their functions in the gods, who believed that the myths created on the basis of natural facts were intended for frank support for priests and rulers, etc.). Plato contrasted folk mythology Philosophical and symbolic interpretation of myths. The ancient Greek philosopher Eugemer (III century BC. Er) saw in the mythical images of deified historical figures (such an interpretation of the myths, the name of Eugeseric, was distributed and later).

Middle Ages and Revival

Medieval Christian theologians, Intentending the Old and New Covenants Literally and allegorically, the ancient mythology was discredited, or referring to the epicorean and eugemeristic interpretation, or the "rendering" of the ancient gods to demons. A new interest in ancient mythology awakened in the Renaissance Epoch. Turning to the ancient mythology, the Humanists of the Renaissance era saw in it the expression of feelings and passions of the emancipating human person. Antique mythology interpreted as moral poetic allegories. The allegorical interpretation of the myths remained the predominant (Treatise Bokcchcho, later essay of the backon, etc.). For the development of knowledge of mythology, the opening of America and acquaintance with the culture of American Indians had great importance. The first attempts of comparative mythology appear.

Formation of scientific study of mythology

The deep philosophy of the myth created the Italian scientist VICO, the written author of the "Basement of New Science" (1725). The oldest era is visual as poetic and in all aspects rooted in myth, which indicates an understanding of the primitive ideological syncretism. Vico calls the mythology of "Divine Poetry" (from which the heroic poetry of a Homerovsky type is then arises) and connects its originality with undeveloped and specific forms of thinking, comparable to children's psychology. Vico means sensory concreteness and physicality, emotionality and wealth of imagination in the absence of rationality, transferring by man to the objects of the world around the world of their own properties, the inability to abstrap the attributes and shape of the subject, the replacement of the essence of the episodes, that is, the narrative, and others. His philosophy The myth contained almost all the basic subsequent directions in the study of mythology in the embryo. Compared to a Wicco theory, a look at the mythology of French enlightenment figures, viewed mythology as a product of ignorance and deception, like superstition (Fontionell, Voltaire, Didro, Charles Montesquieu, etc.), was a step back. The transitional stage from the enlightenment view on the mythology of theromantic represent the views of the German philosopher Gerder. Mythology is interested in him as part of the poetic wealth created by the people, folk wisdom. He considers myths of different nations, including primitive. Myths attract it with their poetchiness, national originality.

Romanticism

Jacob and Wilhelm Grimm

Alexander Nikolaevich Afanasyev

Eduard Tyllor

James George Frenel

The romantic philosophy of myth, who gained his completion from Schelling, interpreted the myth mainly as aesthetical. In the philosophical silling system, mythology occupies a place as if between nature and art; Polyteticomyphology is found by the deification of natural phenomena through fantasy, symbolism of nature. Overcoming the traditional allegorical interpretation of the myth in favor of symbolic - the main pathos of the romantic philosophy of myth. Shelling gives a comparative characteristic of ancient, ancient, and Christian mythology, evaluating Greek mythology as the "highest primary in the poetic world." Schelling believes that the myth-making continues in art and can take the form of individual creative mythology. German scientists-philologists Jacob and Wilhelm Grimm open one of the oldest forms of human creativity, one of the most precious monuments of the "People's Spirit", the reflection of the oldest mythology of the people. Jacob Grimm starts studying the mythology of the Continental Germans, pointing to its remnants and in the beliefs of a later time ("German Mythology", 1835). In the second half of the XIX century, the two main schools of studying myth are mostly opposed to each other. The first of them, inspired by the studies of Jacob Grimma and did not break completely with romantic traditions (German scientists A. Kun, V. Schwartz, V. Manhardt, English - M. Muller, Russians - F. I. Buslaev, A. N. Afanasyev, A. A. Peshebnia, etc.), relied on the success of the scientific comparative historical Indo-European linguistics and focused on the reconstruction of the ancient Industo-European mythology through nutritional comparisons within the framework of Indo-European languages. Max Muller was created by the linguistic concept of the name of the myths as a result of the "language disease": a primitive man identified the abstract concepts through specific signs through metaphorical epithets, and when the initial meaning of the latter turned out to be forgotten or darkened, then by virtue of these semantic shifts and a myth arose. The gods themselves appeared to Muller predominantly solar symbols, while Kun and Schwartz saw a figurative generalization of meteorological (thunder) phenomena.

Mythological School

Later, an indication of animals in the formation of myths was added to the astral and moonar myths. So gradually the Naturic (naturalistic) or solar meteorological school was formed. In folkloristic, it is sometimes called mythological, since the supporters of the school reduced the fabulous and epic stories to mythological (that is, to the same solar and thunderstorm symbols, meteorological, solar, lunar cycles). The subsequent history of science has made serious adjustments in the concept of this school: another species adopted an Indo-generalist, a fart of the theory of "language disease" was revealed, exposed in the XIX century the extreme one-sidedness of the myths to the heavenly natural phenomena. At the same time, it was the first serious experience of using the language for the reconstruction of myths, which received a later productive continuation, and solar, moonar, etc. Symbolism, especially in terms of natural cyclesturned out to be one of the levels of complex mythological modeling.

Anthropological school

Later, in England, as a result of the first scientific steps in comparative ethnography, t. N. Anthropological or avolutionist school (Taylor, E. Lang, Spencer, etc.). Its main material were archaic tribes in comparison with civilized humanity. The emergence of mythology and religion Taylor belowed to much earlier than Muller, actually a primitive state and erected not to "Naturalism", but to animism, that is, to the idea of \u200b\u200bthe soul, which arise, however, as a result of purely rational reflections "Savar" Death, diseases, dreams - precisely purely rational, logical way, the primitive person, according to Taylor, and built mythology, looking for an answer to the questions that arose about incomprehensible phenomena. Mythology was identified in this way from a kind of rational "primitive science." With the development of culture, mythology, as it were, completely lost any independent value, was reduced to errors and remnants, to only the naive, dadewing method of explaining the surrounding world. But such an approach, externally put the study of mythology on strictly scientific soil and creating the impression of an exhaustive explanation of the myth was essentially his complete debate. Serious adjustments to Taylor Theory Animsmism Vidosji. J. Mill (released from the English Anthropological School), opposing an aimism of magic in which he saw an ancient universal form of worldview. The myth for the milling freedomer was increasingly not as a conscious attempt to explain the surrounding world, but simply as a cast of the dieting magical ritual, rite. The mill rendered a great influence on the science of myth not only the thesis on the priority of the ritual over the myth, but in a much greater degree of research (collected mainly in the "golden branch", 1890) myths associated with the agricultural calendar cults of "dying" and "resurrecting" gods .

Modern Stage Studying Mythology

The central problems of the most important subsequent studies of scientists in the field of studying mythology are not so many questions about the functional significance of mythology, its relationship with religion, etc., how many problems of the specifics of mythological thinking. In any case, it was in this area that most significantly new ideas were expressed.

School of structural anthropology

The structuralist theory of myth was developed by the French ethnologist K. Levi-rash, the founder of the T. N. Structural anthropology (Earlier, an approach to structural study of the myths was scheduled for "symbolic" concepts from Cassirera and Jung, as well as a French specialist in comparative mythology-European peoples of J. Dumezil, who offered the theory of three-functional (three-part) structures of Indo-European myths and other cultural phones: religious power (wisdom ) The dual force). French Anthropologist Levi-Bruhl, Lucien in his works of the 30s. On primitive thinking built on the ethnographic material of the peoples of Africa, Australia and Oceania, showed the specifics of primitive thinking, his qualitative difference from scientific thinking. He considered the primitive thinking to be a "rolling" (but not an alogic). Levi-Bruhl, Lucien comes from social (and not from individual) psychology. Collective views (namely, mythological ideas) are, he believes, the subject of faith, and not reasoning, is imperative: if modern European differentiates natural and supernatural, then the "savage" in its collective ideas perceives the world in one. Emotional and motor elements occupy the place of logical inclusions and exceptions in collective views. The "miniature" nature of mythological thinking is manifested, in particular, in non-compliance with the logical law "excluded third": objects can be simultaneously themselves, and something else. In collective ideas, Levy-Bruhl, Lucien, Associations manage the law of partition (sampling) - arises a mystical sodium between the Tenic group and the country of light, between the country of light and flowers, winds, mythical animals, forests, rivers, etc. Mythology is heterogeneously, its directions are burdened with various qualities and properties, the idea of \u200b\u200bthe time is also qualitative. Levi-Bruhl, Lucien showed how mythological thinking functions, as it generalizes, remaining concrete and useful. Criticizing this concept was the indication of the presence of an intellectual meaning of peculiar mythological thinking operations and its practical cognitive results where it missed from the view Levi-Bruhl, Lucien. Making the emphasis on emotional impulses and magical ideas (collective reports) as the basis of mythological thinking, he underestimated the importance of his peculiar logic, a peculiar intellectual nature of mythology (the postulate of the "criminal" character of mythological thinking). The theory of primitive thinking, created by Levi-Supil, is largely the opposite of theory-Brunel. Based on the recognition of the originality of mythological thinking (as thinking on the sensual level, a particular, metaphorical, etc.), Levi-Strosal at the same time that this thinking is capable of generalizations, classifications and logical analysis. The basis of the structural method of Levi-Srosoma forms the identification of the structure as a set of relations invariant with some transformations (that is, the structure is understood not just as a steady "skeleton" of any object, but as a totality of the rules on which one can get the second, third and etc., by rearranged by its elements and some other symmetric transformations). Applying a structural method for analyzing the myths as the most characteristic product of the "primitive" culture, Levi-Strosded attention to the description of the logical mechanisms of primitive thinking. Mythology for Levi-Stros is primarily a field of unconscious logical operations, a logical tool for resolving contradictions. The most important object of mythological studies of Levi-Stroma is to identify in the narrative folklore of American Indians of peculiar mechanisms of mythological thinking, which he believes in its own way is quite logical. Mythological logicadets of its goals as if nonsense, nearly intended, with the help of materials, to that, specially not intended, the method of "brikolazh" (from Franz.Bricoler, "Play with a rebound, ricochet"). The solid analysis of the various myths of the Indians reveals the mechanisms of mythological logic. At the same time, numerous binary oppositions of the type high-low, warm-cold, left-right, warm-cold, left-right, and so-cold, and so-cold, etc. (their detection is the essential side of the Levi-Strosion technique) are rented in their discreteness. Levi Stros saw a logical tool for the resolution of fundamental contradictions by mediation - progressive mediation, the mechanism of which lies in the fact that the fundamental opposite (for example, life and death) is replaced by a less sharp opposite (for example, plant and animal kingdom), and this In turn, a narrower opposition. So the new and new mythological systems and subsystems as the fruits of peculiar "generating semantics" are pupid, as a result of infinite transformations that create complex hierarchical relations between myths. At the same time, when moving from the myth to the myth, it is stored (and thus naked) their total "fittings", but "messages" or "code" are changed. This change in the transformation of myths mostly has a figurative metaphorical character, so that one myth turns out to be fully or in part "metaphor" of the other.

Symbolic school

The symbolic theory of myth, in a full form developed by the German philosopher Cassier, made it possible to deepen the understanding of the intellectual peculiarity of mythological thinking. Mythology is considered by the Cassier along with language and art as an autonomous symbolic form of culture, marked by a special way of symbolic sensing sensual data, emotions. Mythology appears as a closed symbolic system combined and the nature of the functioning, and the method of modeling the surrounding world. Cassirer considered human spiritual activity and primarily myth-making (as an ancient type of this activity) as "symbolic". The symbolism of myth dates backwards, according to Cassimera, to the fact that exactly sensual (and mythological thinking is precisely such) can generalize only becoming a sign, a symbol - specific items, without losing their concreteness, can become a sign of other items or phenomena, that is, to symbolically replace them . The mythical consciousness reminds therefore the code for which the key is needed. Thessier revealed some fundamental structures of the mythological thinking and nature of the mythical symbolism. He managed to assess the intuitive emotional beginning in the myth and, at the same time, to rationally analyze it as a form of creative ordering and even the knowledge of reality. The specifics of mythological thinking Castirer sees in the non-divergence of real and ideal, things and images, body and properties, "beginning" and principle, by virtue of the similarity or sequence are converted into a causal sequence, and the cause of the material metaphor has a causal investigation process. Relationships are not involved, but they are identified, instead of "laws" there are specific unified images, part is functionally identical for a whole. The whole space is built on a single model and articulated by opposition "sacral" (sacred, that is, a mythically relevant, concentrated, with a special physical imprint) and "stranded" (empirical, current). From this, the mythological ideas about space, time, numbers, detailed by the Cassier, dependent. The idea of \u200b\u200b"constructing" of the symbolic world in mythology, put forward by the cassier, is very deep. But the cassier (in accordance with his Neocantian philosophy) avoids any serious formulation of the issue of the relation of the constructed world and the design of the design with reality and public being.

Psychoanalytic School

The works of the German psychologist V. Wundt in connection with the genesis of myths emphasized the role of affective states and dreams, as well as associative chains. Affective states and dreams as fantasy products, related myths, take an even greater place from representatives of the psychoanalytic school - 3. Freud and his followers. For Freud, it is mainly about the sex complexes displaced in the subconscious, first of all about t. The "Oedipal Complex" (which is based on infantile sexual attractions to the opposite sex) - myths are considered by Freudian as a frank expression of this psychological situation. Another attempt to tie myths with the unconscious start in the psyche was taken by the Swiss scientist Jung, which emanated (unlike Freud) from collective ideas and from the symbolic interpretation of the myth, a relatives of the Castierry. Jung drew attention to the community in various types of human imagination (including myth, poetry, unconscious fantasy in dreams) and it struck this common to collectively subconscious psychological mythological symbols - archetypes. The latter act in Jung as a certain structure of primary formation of collective-conscious fantasy and the category of symbolic thoughts that organize outgoing views from outside. Jung's point of view contained the danger of dissolving mythology in psychology, as well as extreme expansion of the concept of myth to the product of imagination at all (when literally any image of fantasy in the individual literary work, sleep, hallucinations, etc. is considered as a myth). These trends were clearly manifested in some modern authorswho have experienced the influence of Jung, such as J. Campbell (the author of the monograph "God's masks", 1959-70), which is inclined to approach mythology of frankly biology, seeing the direct function of the human nervous system, or M. Eliade who nominated the modernization theory of myth-making as salvation from fear of history (its main approach to myths is based primarily on the nature of the functioning of the myth in rituals).

Sociological School

Vyacheslav Vsevolodovich Ivanov

Unlike the English ethnology, which proceeded in the study of primitive culture from individual psychology, representatives of the French sociological school (Durkheim, L. Levi-Bruhl) focused on social psychology, emphasizing the qualitative specifics of the psychology of society, the collective. Durkheim is looking for a new approach to the problem of the emergence and early forms of religion, mythology, ritual. Religion, which Durkheim considers inseparably from mythology, he opposes magic and actually identifies with collective ideas expressing social reality. In search of elementary forms of religion (and mythology) Durkheim appeals to Totemism. He showed that the youtemic mythology simulates a generic organization and herself serves her maintenance. Having put forward a sociological aspect in mythology, Durkheim, thereby (like Malinovsky), departs from the ideas of the ethnography of the XIX century on the explanatory goal of mythology.

Cambridge School of Classical Philology

The scientific creativity of the milling room served as a starting point for the spread of a ritualistic doctrine. Directly from it is t. N. Cambridge School of Classical Philology (D. Harrison, F. M. Kornford, A. A. Kook, Marri), who has emanated in his research from the unconditional priority of a ritual over the myth and seen in rituals the most important source of development, philosophy, art ancient Mira. Directly preceded by Cambridge ritualism and something anticipated by A. N. Veselovsky, who suggested a much broader concept of the participation of rituals in the genesis of non-individual plots and genres, and poetry and partly the art as a whole. In the 30-40s. XX century The ritualistic school took the dominant position (S. X. Hook, T. X. Gaster, E. O. James, etc.). The extreme ritualism is characterized by the works of F. Renlan (who considered all myths with ritual texts, and the myths torn off from the ritual, fairy tales or legends) and S. E. Haiman. By the 80s of the 20th century, a number of works were appeared, critical evaluating extreme ritualism (K. Clackon, W. Bat., V. I. Greenway, J. Fönonoz, K. Levi-Stros). Australian ethnographer E. Stanner showed that Northavralian tribements both strictly equivalent myths and rites and rites, not related to myths, and myths that are not related to rites and are not taking place from them, which does not interfere with myths and rites to have in Principle a similar structure.

Functional school

English Ethnographer A. Malinovsky marked the beginning of a functional school in ethnology and mythology. In the book "Myth in Primitive Psychology" (1926), he argued that the myth in archaic societies, that is, where he had not yet become a "remnant", it is not theoretical value and is not a means of scientific or donatic knowledge of the people of the world around the world, but Performs purely practical functions, supporting the traditions and continuity of tribal culture due to the appeal to the supernatural reality of prehistoric events. Myth codifies thought, strengthens morality, offers certain rules of behavior and authorizes rites, rationalizes and justifies social establishments. Malinovsky indicates that the myth is not just a told history or narrative, having an allegorical, symbolic, etc. Value; The myth is experiencing an archaic consciousness as a kind of oral "Holy Scripture", as a certain reality affecting the fate of peace and people. The idea of \u200b\u200bthe principal unity of the myth and rite, reproducing, repeating actions, allegedly committed in prehistoric times and necessary for the establishment, and then maintaining a space and public order, develops in the book K. T. Proshis "Religious rite and myth" (1933).

Study of mythology in Russia

Pre-revolutionary scientists were mainly in line with pan-European scientific trends. The absence of its own developed mythology imposed a certain imprint and on the study of mythology as such. In Soviet science based on the Marxist-Leninist methodology, the study of the theory of myth mainly went on two ruses - the work of ethnographers in a religious science, and the work of philologists (mainly "classics"); In recent years, Linguists-Semiotics began to apply to mythology when developing semantics problems. In addition to the works of V. G. Bograz and L. Ya. Sternberg of the Soviet period of the Soviet period A. M. Zolotareva, S. A. Tokareva, A. F. Anisimova, Yu. P. Franzev, A. I. Sharevskaya, M. I. Shakhhanych and others. The main object of research in their works is the ratio of mythology and religion, religion and philosophy and especially reflected in the religious myths of production practices, social organization, various customs and beliefs, the first steps of class inequality, etc. A. F . Anisimov and some other authors are too toughly associated with the Miph of Pereligia, and every plot that does not have a direct religious function is identified with a fairy tale as a carrier of spontaneous-materialistic trends in the consciousness of a primitive person. In the book of Zolotarev, due to the problem of Dual Exogamy, there is an analysis of dualistic mythologies, anticipating the study of mythological semantics in terms of binary logic, which is carried out by representatives of structural anthropology. V. Ya. Prippet in "Fairy Tale Morphology" (1928) made a pioneer of structural folklorestics, creating a model of the plot syntax of a magical fairy tale in the form of a linear sequence of functions of acting persons; In the "historical roots of a magic fairy tale" (1946), a historical and genetic base is supplied under the specified model using folk-ethnographic material, comparing fabulous motifs with mythological representations, primitive rites and customs. A. F. Losev, the largest specialist of the Potanti mythology, unlike some ethnographers, not only does not reduce the myth to the explanatory function, but believes that the myth does not have a cognitive goal. By elinee, myth is a direct real coincidence of a common idea and sensual image, he insists on unrequitable in the myth of the ideal and real, as a result of which is a myth-specific element for him wonderful. In the 20-30s. In the USSR, issues of antique mythology in the ratio of the Sopholkore (in particular, the use folk fairy tale As the reconstruction of the initial editors historized and sometimes consecrated by the cult of antique myths) were widely developed in the works of I. M. Troysky, I. I. Tolstoy. I. G. Frank-Kamenetsky and O. M. Freudenberg examined the myth in connection with the questions of semantics and poetics. In some essential items, they anticipated Levi-Stros (in particular, their "transformational mythology" is very close to their idea that some genres and plots are the fruit of the transformation of others, the "metaphor" of others). M. M. Bakhtin in his work on the slave through the analysis of the "carnival culture" showed the folk-ritual-mythological roots of the literature of the late Middle Ages and Renaissance - it is a kind of folk carnival antique and medieval culture that turns out to be an intermediate link between primitive mythology - ritual and artistic literature. The core of studies of linguistic structuralists V. V. Ivanova and V.N. Toporov are experiments of the reconstruction of the oldest balto-Slavic and Indo-European mythological semantics with means of modern semiotics with the wide attraction of various non-invo-European sources. Based on the principles of structural linguistics and Levi-Strosovsky structural anthropology, they used the achievements and old scientific schools, in particular mythological folkloristic. A large place in their works is the analysis of binary oppositions. Semiotics methods are used in some works by E. M. Mestelli (on the mythology of Scandinavians, Paleoaziats, on issues general Theory Myth).

Plot

Plot (from FR. sujet., letters. - "The subject") - in the literature, drama, theater, cinema and games - a number of events (sequence of scenes, acts), which occur in a chopper work (on the scene of the theater) and lined up for the reader (viewer, player) according to a specific demonstration rules. The plot is the basis of the form of the work.

According to Ozhegov's dictionary, plot - this is the sequence and connection of the description of events in the literary or stage work; In the work of the visual art - the subject of the image.

In the ultimately general form, the plot is a kind of basic product scheme, which includes the sequence of the characteristics of the characters existing in it. Typically, the plot includes the following elements: exposure, violin, development, culmination, junction and postposition, and also, in some works, prologue and epiralogue. The main prerequisite of the plot deployment is the time, and as in the historical plan (historical period of the work), so in the physical (flow of time during the work).

Plot and Fabul

The concept of the plot is closely related to the concept of the fabul of the work. In modern Russian literary criticism (as well as in the practice of school teaching of literature), the term "plot" is usually called the course of events in the work, and under the fabul understand the main artistic conflict, which in the course of these events is developing. Historically existed and continue to exist, and other, different from the above, views on the ratio of Fabul and the plot. For example:

· Dictionary Ushakova determines the plot as "a set of actions, events in which the main content is revealed artistic work", And Fabul as" the content of the events depicted in the literary work, in their consistent communication. " Thus, Fabul, in contrast to the plot, is attributed to the mandatory presentation of the work events in their time sequence.

· Previous interpretation was supported in the 1920s by representatives of the oboza, which offered to distinguish the two sides of the narration: in itself the development of events in the world of works they called "Fabuli", and how these events are depicted by the author - "plot".

· Another interpretation comes from Russian critics of the middle of the XIX century and A. N. Veselovsky and M. Gorky was also supported: they called the plot very development of the work of the work, adding the relationship of the characters, and under the Fabulus understood the composition of the work, that is, how It is the author that informs the content of the plot. It is easy to see that the values \u200b\u200bof the terms "plot" and "Fabul" in this interpretation, compared with the previous, change in places.

Finally, there is also a point of view that the concept of "Fabul" has no independent value, and for the analysis of the work it is quite enough to operate with the concepts of the "plot", the "plot" scheme "(that is, Fabul in the sense of the first two of the above options)," Composition of the plot " (how events from the plot scheme sets out the author).

Typology of plots

A repeated attempts were made to classify the plots literary works, Share them on various features, allocate the most typical. The analysis allowed, in particular, to allocate a large group of so-called "stray plots" - plots, which repeatedly repeated in various designs from different peoples and in different regions, mostly - in folk creativity (fairy tales, myths, legends).

According to A. E. Namtsu, from the whole variety of traditional plots, four main genetic groups can be distinguished: mythological, folklore, historical and literary.

As noted by prof. E. M. Meltellin, "Most traditional plots rises in the west to biblical and antique myths."

It is known several attempts to reduce the variety of plots to a small one, but at the same time a comprehensive set of scene schemes. In the famous novel "four cycles", Borges argues that all the plots are reduced to only four options:

· About the assault and defense of the fortified city (Troy)

· About long return (Odyssey)

· About search (Jason)

· About the suicide of God (one, Attis)

The game

The game - A type of meaningful unproductive activity, where the motive lies both in its result and in the process itself. Also, the term "game" is used to designate a set of objects or programs intended for such activities.

The game is a form of activity in conditional situations aimed at recreating and assimilating social experience fixed in socially fixed methods for the implementation of subject action in the subjects of science and culture. Creation of typical situations for the profession and finding practical solutions in them is standard for the theory of management (business games - modeling the production situation in order to develop the most effective solutions and professional skills) and military affairs (military games - solving practical tasks on the ground and topographic cards) .

History of games

The first games appeared in animals long before the occurrence of a person. Monkeys use not only those games that are associated with certain rituals, for example, the marriage season, but also similar to the similar games of people. Humanity plays from prehistoric times - starting with ritual (for example, the rite of initiation, with the development of the game civilization was made more and more difficult and became of almost any subject - war, love, fantasy, history. Probably the most developed in this plan MMORPG with a multiplayer mode like world of Warcraft, to which thousands of users around the world are completely connected and in which millions of various actions are performed every second. There are games that can lead to the death of a person - survival games, airsoft.

Game in animals

Playing kitten

Higher animals have a clearly pronounced juvenile period during which gaming behavior is shown. The nature of the animals in animals is determined by species features and largely depends on the lifestyle, since elements of the behavioral repertoire of adult animals are manifested in games - individual forms of solemnative, marriage, social and negle-based behavior. For example, the game has the game turns on the drainage and jumping - these movements are used when hunting for small rodents.

Often there are games using items (manipulating games). Such games are observed in migrants, but are especially developed and complex from monkeys. Games allow monkeys to catch thin movements under the control of skin sensitivity and vision. Sometimes the monkeys spend a long time in one place, manipulating one object, and their activity is usually aimed at the destruction of the item itself.

Joint participation in the game of several individuals brings it to a qualitatively new level. Communication of animals in the process of a joint game plays an important role in the formation of group behavior. Usually, joint games include the struggle and running chairs, but may include manipulations with various subjects, including the struggle for any subject. For example, the games are broken down by distillation, drainage, attack on each other from the ambush and the struggle.

The role of the game in the life of a person

The game is the main activity of the child. S. L. Rubinstein (1976) noted that the game stores and develops children's in children, that she is their school life and development practice. According to D. B. Elkonina (1978), "In the game, there are not only separate intelligent operations develop or reinstate, but also the position of the child in relation to the world around the world and is formed and the mechanism of possible change of position and coordinating its point of view with other possible changes Points of view. "

The upbringing of the future figure takes place, above all, in the game.

A. S. Makarenko, "Lectures on the upbringing of children"

Business game is the form of modern university and post-house education. There are innovative, positional games (A.A. bales); Organizational and training games (S.D.neverkovichs.d.neverkovich on the site "Dictionaries and Encyclopedias at Academician"); Educational games (B.C. Lazarev.S. Lazarev on the website "National Encyclopedic Service"); organizational and mental games (O.S. Anisimov); Organizational and activities (G.P.Sedrovitsky) and others.

As part of the theory of games, a mathematical theory that allows you to model various situations, the game is equal to a conflict situation in which at least two players according to certain rules seek to get the maximum win.

Games, including computer, can serve as a psychodiagnostic tool; Conclusions can be made of preferred play situations, the attitude towards the tempo and complexity of the game. The very presence of toys when communicating with the child can contribute to therapeutic (including diagnostic) process through the creation of a suitable atmosphere.

Development of development with border states is possible until the identity disorders, leading to the replacement of real activities - gaming: people have a dependence on gambling or computer games, which can lead to the asocialization of the playing.

Children's games

Playing baby

In children preschool age The game is the main activity. Some of the natural games of preschoolers have a pronounced similarity with the games of the representatives of the animal world, but even such simple games as catchpiles, the struggle and hide and seek are to a large extent being evilored. In games, children imitate the work of adults, take over various social roles. Already at this stage, there is a differentiation of sexual sign. Specially position is occupied by specially designed educational and therapeutic games.

The games show the individual and age features of children. At the age of 2-3 years, the logical-shaped representation of reality is started. Playing, children begin to give objects contextual-determined imaginary properties, to replace them with real objects (games "Ponaroshka").

In the development of the game, two main stages are allocated. On the first of them (3-5 years), it is characteristic of reproducing the logic of the real actions of people; Subsection acts content. In the second stage (5-7 years), instead of reproducing general logic, there is a modeling of real relationships between people, that is, the content of the game at this stage is social relations.