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Only in that case we shall receive an adequate knowledge of a real structure of the texts of culture and find out the reasons of such structurization of them. In other words, there opens the opportunity to change the descriptive method of research to an explanatory one.
However, to make the new concept of invariants of the structure of culture texts productively working, it is necessary to show mistakes and weaknesses of existing approaches. Preliminary step in this direction became revealing of internal contradictions and discrepancy in the concept of V. Propp that has served as the precondition of its falsification (according to Charles Popper's theory).
4. An explication of internal contradictions of the theory of V. Propp as a precondition of its falsification
The chapter begins with a critical verification of the concept of structurally functional morphology of a fairy tale according to V. Propp. It is carried out by revealing problematical character of formation of semantic units of a fairy tale on the basis of functions of actants. It is shown also, that the way out of the impasse of applied structuralism within the confines of an antithesis "element-structure" is possible based on a wide philosophic and world outlook approach only.
Questions which arise here first of all, consist in that, how much successfully V. Propp was able to reconstruct its real structure in formal language of the description of a fairy tale. One of disadvantages of his formalization is ignoring of the circumstance, that the fairy tale, except of actions of its characters includes in the structure their states, non-realized desires, aspirations, etc., and also various consequences of these actions, and this just has not fallen under procedures of formalization.
Besides, there remain some non-examined processes and phenomena which can depend on functions of the characters, and can remain only as conditions of their activity.
In spite of an over-formalized language of the description, V. Propp simply ignores in "inconvenient" cases some functions of some characters.
So, in case of when such character as the father, has sexual interest to his daughter (shocking though a widespread function in fairy tales), we should have a semantic unit as „daughterfucker”. Also there were not formalized such characters who during a fabulous narration considerably change their functions. That leads to their declaration as "mysterious" and causes those additional, but unpersuasive explanations that are offered by V. Propp.
But when trying to add the opposite definitions to them, it makes them semantically different units of a fairy tale (a "grantor" acts simultaneously as a "wrecker") that "breaks" the idea of V. Propp from within. To other essential imperfections of V. Propp’s concept we should add also leaving without explanation of incomplete application of a theoretical part of his concept in his own works. Actually, from all of the more than three tens functions distinguished by V. Propp only a little of them was entered into the basic scheme (б1е1А1В4С↑П4Л5↑) of the main fairy tale № 131 (from collected stories by A. Afanas’ev).
Thus, it is necessary to ascertain, that the idea offered by V. Propp that a fairy tale invariant consists of permanent functions which number is invariable, and the sequence is constant, gives essential failures, because, firstly, quite not all the functions of actants of a fairy tale form those steady semantic units which allegedly are constant elements of a fairy tale structure.
Secondly, he has not solved the problem not only of correlation of the opposite functions inherent in one actant during the change in time of a pole of its action, but also could not formalize these features of a fairy tale, owing to that an allegedly steady semantic unit becomes blurred (according to V. Propp, this semantic unity is an atomic basic fairy tale element). All this testifies to an internal inconsistency of the theory of V. Propp, establishment of this fact is an important step to revealing of its falsity (falsification).
The heart of the problem "a structure – an element", formulated with reference to studying of a fairy tale, looks like a question, whether the structure (a plot or motive) sets the functions of elements (characters), or, on the contrary, the functions of characters build a plot? If functions of actants are constant, then exactly these characters, being involved in a fabulous narration „at a right time and in the right place”, will determine its structure. But if these actants are really rigidly defined in their functions, then it is difficult to imagine a fairy tale where the Little Red Riding Hood catches the Wolf in the forest of and eats him up.
At the same time, there are many fabulous and folklore actants which functions are not definitely set. Thus, say, the Wood-goblin can frighten people, steal children and so on, but he also helps to pasture the cattle, kindly lulls the child forgotten by a mother. What structure then will be set to a fairy tale by this ambivalent character?
One of the ways of decision of the denoted problem "structure-element" consists in admission that, according to the principle “the structure determines the function of elements”, not the actant builds the structure, but the structure, in cases when the actant has taken the certain place in it, "compulsorily" sets corresponding functions to an actant.
At first sight, it seems so. Nevertheless, the matter is that the basic invariant fairy tale structure does not exist in pure form, just as it is. Similarly, to an archetype, it demonstrates itself only through an objective material, but is not reduced to it.
In turn, a part of a concrete material of a fairy tale, in particular, some objectively-figurative embodiments of actants, owing to their steady fixing at the certain basic elements of fairy tale structure or at its typical episodes, become similar to clichés. Owing to this circumstance, the given embodiments of typical functions in the certain characters show resistance to their artificial inclusion in such cells of structure where the not inherent functions will be imposed to them. Nevertheless if they are still forced "to enter" the "place" in the structure not inherent in them, determined by a functional role alien to them, then this character starts to look as something distorted or mockly-ridiculous.
It is exactly those cases when the stepmother will love the stepdaughter more, than her own daughter or when the peaceful Wolf will suffer from the Little Red Riding Hood, and Tsarevitch will fall in love with the She-Dragon.
It is interesting, that similar experimentation with functions of fabulous characters was carried out by a famous Italian children's storyteller J. Rodari who in „topsy-turvy fairy tales” suggested sating an invariant “bare scheme” of fairy tales with the characters performing functions, opposite to habitual ones. However, the „bare” scheme therefore is considered „bare”, because it does not exist just as it is, outside of its concrete personifications. Characters through their actions should "open" this "scheme" (structure). But then on this basis it is possible to draw an opposite conclusion that it is exactly "structure" that sets meanings (functions) to the "elements", rather than conversely. What is the true answer?
Here we have approached to the main point of the problem. It consists in what represents and by what is determined the „bare scheme” mentioned above, which retains in all possible though extravagant embodiments. It is necessary to accept, that only the account of that circumstance, that a deeper universal-cultural worldview context acts as an invariant basis of fairy tales, where all concretely-structural and substantial moments are strung on idea of a survival through struggle against death, allows breaking off a vicious circle which arises here.
Then in the work there is given explication to negative singular consequences of the theory of V. Propp about an origin of structure of a fairy tale from a ceremony. It is carried out through demonstration of discrepancy between a key postulate of the concept of V. Propp – „the structure of a fairy tale is determined by the structure of an (initial) ceremony” and the contents of his research. There is also used a method of „back (reversal) reconstruction” by means of transformation of the relation „a ceremony – a fairy tale” to „a fairy tale – a ceremony”, that leads to paradoxes and obviously absurd hypothetical situations.
Thus, the motive “chopped and poisoned” is explained by V. Propp by means of the contents of an initial ceremony. In the course of time a real murder, which is nonsense in itself, as an initiant should pass a ceremony of initiation, instead of fall a victim in sacrifice, was replaced, according to V. Propp by cutting off a finger. But then all masculine population of archaic communities should be entirely adactylous, and it is not so.
Similar discrepancies arise in cases of explanation of ritual defloration of women who have already given birth and in other similar absurd statements which testify that such illogical result of research cannot be considered satisfactory in any way.
Some other weaknesses are inherent in explanations by V. Propp concerning the sources of fairy tale structure, that are able to testify their incorrectness. Thus, he, in spite of a many times declared position that the structure of a fairy tale is determined by the initial, and also, partially, by other ceremonies, was never able to stay in limits of this key postulate.
Actually he pass to another level of "reality" connected not only with initial, but also funeral, wedding and calendar ceremonial and with beliefs which accompany them, including the developed forms of myth and religion, with cult of ancestors and totemistic cults. When explaining the origin of motives and episodes of a fairy tale he uses separate details of other ceremonies, in particular, sacrifices and becoming related, adding to them national believes, and even imaginations, dreams and, an absolutely extreme case, the ability of people to forget. He also bases on data about customs, a common law and life, referring to such social phenomena, as transition from polygamy to monogamy, struggle for authority, on industrial activity.
Thus, in V. Propp’s works there are revealed such non-agreements which allow to speak about "abnegation" of his own concept. The reason of this is, obviously, in incorrectness of his basic postulate, that’s why V. Propp, contrary to his insistent declaration, is compelled to admit involuntarily the fact, that the structure of a fairy tale by no means corresponds to the structure of an initial ceremony and to ceremonial realities in general. It is the evidence of an obvious internal inconsistency of his paradigmatic concept. Finally, the results got by V. Propp are regarded as arguments in favour of ascertaining of his conceptual failure.
Taking into account an obvious discrepancy of the structure of a fairy tale reconstructed by V. Propp and an unsatisfactory explanation of its “historical roots” we put forward a deductive hypothesis of a low level of universality of an universal-cultural structure of fairy tales and we find its empiric confirmation using a fairy tale material from examples of Antti Aarne, Steve Thompson, Roman Volkov, Vladimir Propp etc.
5. Falsification of the theory of V. Propp by means of increasing a level of universality of a deductive hypothesis about a universal-cultural structure of culture texts
In this chapter the purpose of research, which is defined in the name of the book, is realized by means of enlargement of empirical base of the put forward hypothesis with attraction of a wide file of texts of culture. First of all it is ascertained here, that all fairy tale material can be easily analyzed using such procedure when a universal-cultural contents is revealed in it. On this basis, it is offered to consider, that basic statements of V. Propp concerning the structure of a fairy tale text are incorrect as a matter of fact. Actually, the fairy tale has in its basis that deep invariant which is recreated from a combination of categories of ultimate bases and world outlook codes. But earlier this statement referred only to a fairy tale and consequently a hypothesis concerning the CUB-structure of the texts the culture had a low level of universality.
My further step was enlargement of the research field by means of distribution of the offered hypothesis on other texts of culture, so that on the basis of an objective (empirical) material of ceremonies, mythology, religion and literary and art consciousness to show their is universal-cultural structuredness.
Thus, the level of universality of the mentioned hypothesis has increased, owing to that it became possible to falsify the theory of V. Propp not only at a level of consequences or singular statements, but also at a level of its basic theses.
And really, the reference to a ceremonial material has shown, that both calendar ceremonies, and ceremonies of life cycle have a full CUB-structuredness in all known codes, in spite of what real was semeiotic in them. In other words, New Year's holidays, Pancake week (Carnival), Midsummer Night, ceremonies of a birth, wedding and funeral ceremonies have in their basis a triad „life – death – revival”.
In New Year's ceremonies (originally – spring ceremonies) it is shown, in particular, in their typological identity with funeral repast (twelve dishes, boiled rice with raising and honey, prohibition to sleep, a table-cloth which is prepared for funeral, candles, etc.) and also arrival of the died ancestors (carols with weird attributes) which should help the forces of life in the coming year.
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