Теория языка | Филологический аспект №11 (103) Ноябрь 2023

The nature of the mythological cultural code as a special type of the second reality

Arabaji Kristina Dmitriyevna
Abylkas Saginov Karaganda Technical University
Sofina Irina Igorevna
Abylkas Saginov Karaganda Technical University
Ulzhabayeva Aisha Gabdulkhamitovna
Karaganda Buketov University, aisha.ulzhabayeva@gmail.com

Аннотация: This article is devoted to the study of a comprehensive research of the cultural code, its content and varieties, in particular, the mythological code of culture, its features. The principles of the "work" of the myth in human communities are considered, as far as the scope of this study allows. The relevance of the research topic is due to a number of factors. Firstly, the article examines the meaning of the concept of "cultural code" and the group of concepts "myth", "mythology", "mythologeme" in the system of humanitarian knowledge. Secondly, the material studied in the article is directly related to the mythological code, which covers such a concept as "second reality", denoting an integral part of the cultural space. The purpose of this work is to explain the concepts of "cultural code" and "mythological cultural code". To achieve this goal, it is necessary to solve the following tasks:  to analyze the information found on the topic "Mythological code of culture";  explain the concepts of "cultural code" and "mythological cultural code";  to describe the mechanics of the "work" of the cultural code in a modern cultural text. The following analysis methods were used in the study: comparative (contrastive) method; component analysis method; descriptive-analytical method. The article reveals in detail the phenomenon of the mythological cultural code, which implies the unification of two fields of humanitarian knowledge — philology and cultural studies — and cannot be considered without taking into account one of them.
Ключевые слова: mythology, culture, mythological code, cultural code, customs and traditions, language, linguistics

Introduction.

Every year, more and more new bestsellers appear on the shelves of bookstores. As a rule, this is mass literature: detective stories, fiction, romance novels. You can immediately hear a lot of reviews about these books — both good and bad — and many expect their film adaptations. All these books are quite similar in structure and events in them occur according to all the laws of the genre. We meet positive and negative characters, who often find themselves in an unusual environment for them, followed by a clash of the forces of good and evil.

In our opinion, a special place in popular literature is occupied by fiction, and especially "fantasy". Do we think about what additional meanings may be hidden inside the works of this genre? What if they bring educational benefits to their readers by exploiting and transforming existing cultural codes? But these mechanisms force us to turn to linguistics, cultural studies and other related sciences. And also, what example can these books serve as in the study of linguistic topics by future philologists of foreign languages.

Thus, the unappreciated educational potential of mass literature is the problem underlying this work.

Every linguist encounters the concept of "cultural code" in the course of training, while it turns out to be quite difficult to find studies on different cultural codes separately, including detailed examples. We hope that this will be the way to characterize this work. If this study serves as an example in this regard, it has not been done in vain and has significance.

Culture in the life of each individual is directly related to language and is stored in his linguistic consciousness and manifests itself in all spheres of life.

Culture codes are universal units of information belonging to a particular culture, and therefore to a language. The codes of culture are very diverse, but, nevertheless, they are interconnected and can easily move from one to another.

The mythological code covers such a concept as the "second reality", which denotes an integral part of the cultural space: the logic of fiction, myth works here, demons and angels, magicians, werewolves, etc. live in this "territory". All these creatures manifest themselves in culture as independent characters or representatives of folklore, and also have certain stereotypes.

Language and culture seem to us to be integral forms of consciousness reflecting human activity. Language is integrated into culture, and vice versa, representing the signifier of the sign as a cultural object, the form of which can be determined by the linguistic and communicative abilities of a person, as well as the signified of the sign is also a cultural education that arises only in human activity. Culture is included in the language because it is all modeled in the text. The existing complex relationship between culture and language is mediated by a whole complex of relations and knowledge, socially inherited and imprinted in the semantics of expressions, as well as other units of language. It is necessary to pay attention to the fact that the various levels of language given to us with the units of language attached to them are caused by different dynamics of cultural "fullness" and cultural affiliation.

Culture and language are interconnected and cannot exist outside of each other. According to linguist S.G. Ter-Minasova, language can be considered as a mirror image of culture, since language shows both the real world in which a person lives together with his living conditions, and the general self-consciousness of the people, their mentality, lifestyle, customs and traditions, vital and moral values. Language is also a repository of cultural values that can be contained in literature of any genre, as well as in sections of linguistics, such as grammar, vocabulary and phraseology. As a carrier of culture, language acts as a transmitter of important components of culture from one generation to another. And finally, as an instrument of culture, language embodies everything inherent in culture, thereby contributing to the formation of a person's personality as a representative of a certain culture.

Cultural codes have peculiar characteristics, thereby reflecting their significance within any national culture.

Materials and methods.

In this study, the works of Russian and foreign linguists devoted to the problem of literary code in works of fiction were studied. Based on the propositions put forward by semiologists, it can be assumed that the concepts of "language" and "code" are in direct connection with each other. According to U.Eco the number of possible combinations of the code is directly proportional to the number of characters embedded in any statement. For this purpose, the concept of "S-code" was proposed, which allows reading codes.  R. Jacobson introduced such a concept as "subcode". The research examined the works of such scientists as S.G. Ter - Minasova, L.G. Morgan, E.B. Taylor and others.

Results and discussion.

The need for a cultural code arises as a result of the transition from the world of signals to the world of meaning. The world of signals is the world of individual units, the calculation of which takes place in bits of information, and the world of meaning, in turn, represents those weighty forms that connect a person with the world of ideas, images and values of a particular culture. From which it follows that the code is a model, the position of the formation of a number of accurate messages. Based on a common code, more simplified and all-encompassing, all existing codes can be mapped to each other. The information contained in the cultural text can be presented to various kinds of readings according to the code used. Thanks to the code, it is possible to penetrate the semantic level of culture, which cannot be achieved without knowing the code, since the cultural text will remain inaccessible, hidden and unreadable. A sign system that does not carry meaning and significance will be presented to the human eye.

The base code of the culture should have the following properties:

1) self-sufficiency for the production, transmission and storage of human culture;

2) openness to change;

3) versatility.

Culture from the point of view of the science of semiotics is defined as a system consisting of signs and symbols. Semiotics is a science dealing with the study of properties, signs and systems attached to them. Examples of sign systems are natural spoken languages, systems for studying scientific theories, artificial languages, alarm systems, programs and algorithms for the operation of various machines.

Within the framework of semiotics, culture is considered as a set of texts understood as a sequence of signs of any nature. The texts themselves are the so called "true keepers of culture". It is precisely in the text that the spiritual world of a person is displayed, since it stores information about the history, culture, and national behavior of a certain ethnic group. Thus, the texts are the embodiment of cultural codes, representing "a set of specific signals that automatically cause the reader, brought up according to the traditions of this culture, not only direct associations, but also a large number of indirect perceptions" [1].

Let's consider the concepts necessary for further research.

Myth. The ancient Greek word "myth" (μῦθος) translates as "legend". Our distant ancestors were characterized by the so-called mythological thinking, when the history of mankind was considered as a change of generations of gods, heroes and people, and animate natural elements interfered with the fate of mortals.

To date, there are dozens of variants of the definition of the concept of "myth", and even within the framework of literary studies it is represented by different and contradictory interpretations. According to the classical definition, a myth is "an ancient legend that is unconsciously a work of art about important, often mysterious natural, physiological and social phenomena for ancient man, the origin of the world, the mystery of the birth of man and the origin of mankind, the exploits of gods, kings and heroes, about their battles and tragedies" [2]. The main feature of the myth is the close fusion of various elements in it — artistic and logically conditioned, narrative and ritual. The creation of a myth "is characterized by the unconsciousness of the creative process, therefore myths appear as creations of collective and unconscious folk art" [3].

The concept of "myth" is found not only in literary studies; from folklore studies it has passed into philosophy and cultural studies, where it has "acquired" additional meanings that are useful in philological research. So, we find very important clarifications made by specialists from other fields of humanitarian knowledge. In a broad sense, myth as an integral part of mythology is a special way of relating to the world, generalizing the tasks of primitive religion, art and science; this is a "figurative ordering of yet unknown or incomprehensible being", a certain "order of the world" expressed in a system of images, "the initial form of understanding the world", "a symbolic form of consciousness". Myth is a "sacred history" that organizes the collective and individual existence of people [4].

So, a myth is a narrative that conveys people's ideas about the world, man's place in it, the origin of all things, about gods and heroes. Myth as a type of worldview has a number of distinctive features:

• arbitrary plot;
• addressing the causes of genesis;
• zoomorphism (people and animals resemble each other, half-human and half-animal characters meet);
• undifferentiation;
• attempt to explain natural and social phenomena;
• the repeatability of images and plots among different peoples [5].

Based on these properties of the myth, the researchers concluded that all ancient civilizations have passed a mythological stage in their development, which left us evidence of a common human past.

When people began to think and reflect, the very first form of their worldview of thinking became mythological.

Mythology. The totality of myths in culture is called "mythology". Another meaning of the concept: a fantastic explanation of reality. The ancient man, unable to explain the surrounding reality in any other way, created a system of myths that became his picture of the world.

Mythology is a special form of human consciousness, a way of preserving traditions in a constantly changing reality, includes folk tales (myths, epics, etc.), as well as the study of this material within the framework of scientific disciplines, for example, comparative mythology [6].

Ignorance and misunderstanding of the surrounding world, the uncertainty of one's own position in it causes a person discomfort. He needs to explain to himself the essence of things.

Mythological thinking. Human thinking at the first stages of its development is commonly called mythological thinking. At the same time, a person does not see the difference between reality and fiction. For him, everything is reality — both fictional and visible around. At the same time, the mythological worldview is figurative. Conceptual thinking (thinking in concepts, abstractions) was not yet accepted at that time, and man thought in images. Therefore, mythological thinking is also called "pre-logical": "here any objects can be both themselves and something else at the same time" [7].

It is from mythology and mythological thinking of the world that religion, science, and philosophy have "grown up". From dogmas and emotional perception of the world, people began to move to critical thinking and logical understanding of the reality surrounding them.

Mythology formed the basis of folklore of the peoples of the world. From this point of view, folklore is a logical continuation of mythology, but already as an artistic representation of the world. This is not a worldview, but only creativity.

Human thinking at the first stages of its development is commonly called mythological thinking. One of its most important properties is called syncretism — the inseparability of beliefs, actions and drawings reflecting the picture of the world were inseparable. Man was integral: he believed, acted according to his faith and reproduced it in his own creativity.

The Paleolithic images found by scientists suggest that the myth originated in the pre-written and pre-verbal period (i.e. before speech and language appeared).

The first depicted scenes include the struggle of a tiger and a fallow deer (leopard and deer), symbolizing the confrontation of the strong and the weak, the change of one era to another. The hunting scenes reflect man's attempts to tame and conquer the world of wildlife. Later, plots appear that reflect the overall picture of the world: a tree uniting earth and sky, a split egg from which the sea and land appeared, three whales, three turtles.

When people mastered speech, the belief system began to take shape in separate texts. At first, they existed only in the form of oral narratives and were passed from older to younger, often with musical accompaniment. The oldest mythological plots are represented by such genres as song, legend, legend, legend.

Myth, therefore, is an epic and all its types, and mythology is a system of myths connected by unified images and representations.

With the separation of literature into a separate art form, myth began to be spoken of in a slightly different meaning. A myth in literature is a work of fiction that represents a detailed narrative, retelling or transcription of an oral figurative and poetic legend that appeared in a particular society at a certain stage of historical development [8]. For modern writers, mythology is the deepest source of inspiration.  At the heart of any literary plot is a myth. Thus, the plot of Homer's poem "Odyssey", which absorbed a whole cycle of mythological motifs of antiquity (about a duel with a cyclops, the temptations of the hero, grooms and faithful wife, and others), in the Middle Ages transformed into the genre of a picaresque novel and a travel novel.

The cunning Odysseus, who dreams of returning to Ithaca, turns into a nameless tramp, who by the end of the story turns out to be a prince. In the twentieth century, the Irish writer James Joyce created the novel "Ulysses" (Ulysses, 1922) about the adventures of a man of the early twentieth century, very far in character and circumstances of life from the famous hero of Ancient Greece.

Mythology is the source of many catch phrases. The word "myth" is perceived as a synonym for untruth, fiction, lies. This is due to the fact that the time of occurrence of a particular plot is several millennia away from us, so it inevitably acquires additions, "tall tales". At the same time, the algorithms of actions (plot), motives, plots, codes that organize life in the Universe remain in the myth, as a rule, unchanged.

Winged words and expressions that came to our speech from the mythologies of different peoples have spread all over the world. Here are just some phraseological units that have come down to our time.

From Biblical mythology: The Tower of Babel; Sodom and Gomorrah; Balaam's ass; Jericho Trumpet.

From ancient Greek myths: Sisyphean labor; between Scylla and Charybdis; Procrustean bed; Trojan Horse; Pandora's Box; sink into oblivion; Achilles' Heel.

From the mythology of ancient Rome: how the Geese saved Rome; two-faced Janus

Phenomena and events reported in the winged words are commonly called mythologems (from Dr.-Greek. μῦθος - legend, legend, etc.-Greek. λόγος - thought, reason). This term refers to mythological plots, scenes and images that are universal and widely spread in the cultures of the peoples of the world. This is "a specific epistemological image, the distinguishing feature of which is the direct unity of two planes — the objective and symbolic, as a constant of mythological thinking, the minimum unit of mythological discourse that preserves the quality of myth" [9]. Examples: the mythologeme of the first man, the mythologeme of the World Tree, the mythologeme of the Flood (more broadly, the death of mankind, and the salvation of the elect), etc. With a certain degree of conditionality, the concept of "archetype", introduced into scientific circulation by K. G. Jung, can be considered a synonym of "mythologeme" [10].

It is believed that any mythologeme has an ambivalent nature: it is both mythological material and the soil for the formation of new material. According to N. A. Kobylko, "the issue of identifying the concept of "mythologeme" is quite relevant. There is no consensus among scientists today regarding its definition. A mythologeme is a mythological material and the basis for its formation (K. G. Jung); as part of the plot of a myth, and the mention of a mythical hero (I. Lomakin); an independent author's image built on a system of traditional cultural and literary paradigms (Yu. Vishnitskaya); a fragment of a myth, a mytheme that has lost its autochthonous characteristics and functions (Literary Encyclopedia); subtext references, hints, allusions to certain moments of ancient or biblical myths (O. Slonevskaya); a mythological plot or motif introduced into the text with further interpretation (M. Vyshina); a specific epistemological image, a constant of mythological thinking, minimal a unit of mythological discourse that has preserved the quality of myth (S. Gutsol); a concrete, figurative, symbolic way of depicting reality (O. Kolyada); persistent, often repeated images and motifs in mythological systems (T. Bovsunovskaya)" [11].

At the same time, according to the classical, albeit outdated, definition, a mythologeme is a phenomenon or event that is well known, but far from being finalized and continues to serve as a material for creativity [12].

Pre-written cultures cover a huge "prehistoric" period, including "savagery" and "barbarism" (in the terminology of anthropologists L. Morgan and E. Tylor), from 50-20 thousand years ago (the border of the Upper Paleolithic) to the middle of 4 thousand BC. The primitive foundations of the cultural code were laid, as mentioned above, in the lower Paleolithic — from 1 million to 50 thousand years ago. In the future, it was filled with new content, and most importantly, connections were established between them, "including" the cultural code in the work, which provided each time a new level of self-organization of culture. Based on archaeological and paleontological findings, it is possible to fix the complexity of the subject world of pre-written cultures: from primitive stone strikers of the Lower Paleolithic era to the sharpest stone knives and axes, pottery, bows, arrows, fishing gear. People learned how to make fire and use it, sharpen, drill, grind, weave, and then weave, burn clay, cultivate the land and tame animals [13].

Understanding how the process of the development of symbolic human activity took place (the iconic parameter of the main cultural code) requires a rather complex historical reconstruction, which experts carry out on the basis of later texts that have preserved evidence of archaic structures of life. These texts turn out to be epics recorded or left in oral tradition — myths, fairy tales, epics, proverbs, sayings, etc. In addition, ethnographers' direct observations of the life of primitive cultures that have survived to this day also provide material for cultural and historical reconstruction.

Modern researchers of sign systems distinguish three main types of signs:

1) signs-designations; 2) signs-models; 3) signs-symbols.

Based on such reconstructions, today they confidently assert: in pre-written cultures, the three main types of signs (signs-designations; signs-models; signs-symbols), as well as the sign activity carried out in them, which necessarily correlates the objective world and nature with the sign, formed a special cultural code — mythological. Today we believe that the myth is akin to a fairy tale, that it is a fiction, a kind of collective fantasy of the distant past of mankind, telling about gods and heroes, in whose exploits people saw the embodiment of their dreams. But in primitive society, myth is not only a way of understanding life (the development of ideality as a parameter of the main cultural code), it is a way of experiencing it in both objective and symbolic forms. Let's take a closer look at this provision.

The first type, signs-designations, is the basis of natural language and provides communication, therefore, the activity of their development is connected with any other human activity. The symbolic form of this activity is a word denoting an object, action, property, etc. characteristics of the world around a person. For us today, the difference between a word and a thing is clear and obvious. For primitive man, according to J. Fraser [14], the connection between a name and the person or thing it designates is not an arbitrary and ideal association, but real, tangible bonds. Actions with objects are equivalent to actions with words, and therefore, in order to protect yourself from evil forces and spirits), you need not only to protect yourself, a tribe or a clan from dangerous actions, but also to protect your name, your own, a relative, a deceased person, for which names are hidden, double names are given or taboo is imposed (prohibition) to pronounce names.

We find remarkable examples of "forbidden words" in Fraser. Here is one of them: when the Sulka tribe warriors in New Britain are close to the lands of their enemies, the Gaktei, they try not to pronounce their names in any case, but call them about lapsiek (which means: "rotten tree trunks"), thus informing about the weakness, heaviness and clumsiness of their enemies.

The second type, model signs, is also formed according to the rules of the mythological cultural code. In any culture, actions with model signs are often identical to actions with objects, therefore, sign-modeling activity is able to replace those types of objective actions that it models. The mythological cultural code, as in the case of signs-designations, does not make any distinction between the sign-model and the object. An example here is one curious reconstruction of a modern researcher who tried to unravel the mystery of rock art of Paleolithic man. It is known that images of animals and hunting scenes were made on the walls of caves in the Upper Paleolithic era (about 20 thousand years ago), and the animals were depicted in profile. Why? Researchers suggest that after a successful hunt, when the meat of the killed bison was eaten, its skin was placed, imitating the animal's body, against the wall of the cave. Young hunters, pursuing practical goals, and shamans of the genus — magical, in order to ensure the success of the next hunt, threw spears and arrows into this skin. Over time, the skin decayed and was removed from the wall. Her outline, outlined in charcoal on the wall, was the first drawing. In this very conditional example, both the animal's skin and its circled outline served as a model sign that allowed us to work out the most important practical action - hitting the target on the hunt. It is essential that within the limits of the mythological cultural code, the model and the object that it replaces are connected not only by the practical needs of people, but, more importantly, the model absorbs the symbolic dimension of ritual magic, becoming a cultural model — a "secondary" objectivity. In contrast to the "primary" objectivity of people's instrumental activity, the model not only forms the action itself, but also translates its cultural mythological meaning [15].

In any magical ritual of archaic culture, objects of real life and actions with them are not just modeled, but thereby a symbolic field of culture is created in which the comprehension, the idea of reality in the myth is formed into a special symbolic cultural layer.  At the stage when scientific statements were based on elementary generalizations, the picture of the world combined reality along with tall tales, which would have opposed the view of modern scientists on the problem. Ideality, as a parameter of the main cultural code in pre-written cultures, develops symbolic meanings of the myth. Actually, the myth itself can be considered as a symbol of archaic culture.

The third type, signs-symbols, unlike signs-models, replacing objects, set a different structure of action with the objects themselves. In addition, a sign-symbol can not only denote an object, but also replace model signs. Within the limits of the mythological code of culture, signs-symbols contain meanings that link the instrumental, symbolic (natural language) and secondary subject activity (modeling) into a single, inseparable whole, thereby connecting the natural and ancestral life of primitive man.

The mythological code is based on a number of basic symbols.

1. Totem-animistic (totem — in the Ojibwa language — "his kind"; animi — "soul"). The totem symbolizes a person's kinship with objects of living (animals) or inanimate nature (stones, churings, amulets, etc.). The soul, according to Tylor's definition, is "a subtle, insubstantial human image, by its nature something like steam, air or shadow" and symbolizes the life of the being that it animates. The soul is able to leave the body (in a dream, during illness, as a result of witchcraft, etc.), is transferred from place to place, enter the bodies of other people, animals and even things, possess them and influence them. After death, the soul finds refuge in the afterlife (in more developed cultures) or returns to the totemic center of the tribe, to the world tree or other source of life, after which it reincarnates into a newborn.

2. Symbols of the elements. Cosmos/Chaos consisting of Water (Ocean), Fire, Earth and Air (Sky). These "elements" symbolize the beginnings of the universe: Water (the world Ocean) is one of the incarnations of monstrous Chaos, the Earth rises from it, the sacred marriage of Earth and Sky is the beginning of the life of the universe (Cosmos).

3. Symbols of the universe. The sun/Moon are symbols of day and night, light and darkness, death and resurrection (the latter is associated with the perception of eclipses by ancient people). The stars and planets symbolize the heavenly hunt — a mirror image of the earthly pursuits of man. So, for many peoples of the North of Eurasia, the constellation of the Big Dipper is considered a deer or an elk (often eight—legged), which is pursued by a hunter, the Milky Way - traces of a ski run, the fixed Polar Star — an opening through which the elk falls to the ground, turning into an ordinary animal. The horizontal direction symbolizes the division of the world into right and left parts, as well as orientation to the cardinal directions, the vertical direction, which sets the orientation of the top and bottom of the world order, good and evil, light and darkness, is associated with beings embodying cosmic zones: at the top — a bird, at the trunk — deer, horses, etc., sometimes — a man, and at the roots — a snake.

Conclusions

All of the above allows us to formulate some conclusions.

1. The mythological code developed a special type of cultural memory that ensured immutability and stability in the self-organization of pre-written, traditional cultures: reproduction of given patterns in human behavior, in his attitude to the world, nature, his duties within society.

2. These samples were in the "initial", "early", "first" time. This is the time of the "first ancestors", "first creation", "first subjects", which contain the magical powers of spirits that affect the entire subsequent life of all people, animals and the whole world. The sample was supported by a ritual, the performance of which was vigilantly monitored by sorcerers, shamans, tribal leaders.

3. During the ritual — the retransmission of the myth — the sample is demonstrated, supporting the memory of the culture and making the cultural code work. Today we discover Homer and read about the exploits of Odysseus, the myth for us is enclosed in a book. In the culture where it originated and existed, i.e. in the pre-written culture, the myth was "read" through ritual, magical actions and rituals, in which all members of the genus, of any age and gender were included with regularity and constancy.

The mythological cultural code is a special type of cultural memory that ensured the stability of pre—written, traditional cultures: the reproduction of given patterns in human behavior, in his attitude to the world, nature, his duties within society. In the pre-written era, these samples directly influenced the lives of people, animals and the whole world. The sample was supported by a ritual, the performance of which was vigilantly monitored by people with a special status. In the culture where it originated and existed, i.e. in pre-written culture, the myth was "read" through ritual, magical actions and rituals, in which all members of the genus, of any age and gender, were included with regularity and constancy. Today, in the written (or informational) era, the myth for us is contained in a book, in a written text. As a result of the research conducted in this chapter, we come to the conclusion about the universal adaptability of the mythological code, that in one form or another it is present in any work of artistic culture and is often the key to the meaning of cultural texts.

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