КУЛЬТУРНЫЙ ГЕРОЙ: ДИНАМИКА РАЗВИТИЯ
Реконструируется динамический процесс развития Культурного героя. В модусе метафизики он проходит путь от эмпирического типа рациональности (Трикстер) к оформленной теоретичности (Конкистадор). Постметафизическая культурная парадигма представлена преимущественно Трикстером. Полученная типология позволяет выявить инвариантное содержание категории «Культурный герой»: на любом этапе он является объективной идеограммой, воплощающей самые тенденциозные возможности умственной жизни человека. ; A cultural hero, as a part of artificial (theoretical) worlds, at first realizes itself in mythology as a Trickster. Being a collective personification, Trickster is controversial: a combination of human and animal features (Seth); gender variability (Loki); penchant to excesses (in food, sex, humor). Trickster is often called a "jester", but taunting something Trickster sets in motion the mechanisms of culture renewal. However, he does it unknowingly. From this point of view, Trickster is also a "fool". He impersonates pre-rational kind of thinking, but because of him a man learns the Mind. Conquistador is a new type of a culture hero and he was activated as soon as the human mind reached a higher level of development. Since the time of Antiquity, the human mind, as a designer and engineer, is creating him. Conquistador is smart, strong and handsome (Prometheus). Love for the human beings and a desire for justice are among the main directions of his activity. Adventures and fame are also taking an important place in Conquistador''s value system. However, comparing to Trickster, who is always unique, Conquistador has almost no individuality. At the same time, up to the Enlightenment Trickster stays close to Conquistador, which demonstrates the absence of one way of the culture hero creation. There is always "the second line" (the line of "suspicion to the Mind"). Thus, Conquistador is created in the first, major (rational), line. Trickster is created in the second line where the Mind is suspected. However, in the Enlightenment Trickster is discriminated. Conquistador successfully dominates in the culture. In contrast to forebears he has a different mental life, which is more extensive. Conquistador demonstrates a tendency to philosophy (Alexander Chatsky), speaks many languages, adheres pretentious ideas such as freemasonry (Pierre Bezukhov) or nihilism (Evgeny Bazarov). Different utopian projects of improvement of the state structure or political regime reflect the success of West European Conquistador''s mind. Meanwhile, Conquistador''s rational enthusiasm provokes the crisis that comes "after metaphysics". The culture hero Trickster is again being actualized at this moment. Munchausen, Svejk, Karlsson and other all these heroes reveal their similarity with the mythological Trickster due to such qualities as humor, cynicism, liminality, irrationality. Notably, the modern Trickster realizes itself not only in the framework of the myth but beyond it (F. Ranevskaya, E. Snowden and V. Zhirinovsky). Herewith, the fact that Trickster exists quite legitimately and therefore totally in the context of metaphysical culture is the main distinctive criterion for the archaic and modern Trickster. Certainly, the "conquistador" line also presents in culture, but tricksters are in majority, and even globalization is unable to change this disproportion.