From the structure of the scientific text to the 1950s-80s bard song genesis

Zipunov Andrey Postgraduate student, Department of History of Journalism and Literature, Griboyedov Moscow University 111024, Russia, Moscow, highway Enthusiasts, 21 andzip@mail.ru Other publications by this author

Valganov Sergei Vladimirovich Senior Scientific Associate, Independent Nonprofit Organization "Megalithic Club" 117292, Russia, g. Moscow, pr-t Nakhimovskii, 52/27 volkman00@ya.ru Other publications by this author

The origin of any cultural trend is, of course, one of the central issues of a comprehensive study of the phenomenon. And the more multifaceted a cultural phenomenon is, the more discussions and discrepancies it causes. This problem has not been avoided by variations on the genesis of the author's (amateur, bardic) song both on the part of the authors of the works themselves and on the part of the scientific community. Due to the fact that earlier a new method of macrosemantic categorical structures was quite effectively applied to the lyrics of the author's song ^[14], the idea arose to apply it here, i.e. to the problem of the generation of a cultural trend as a systemic phenomenon. Some optimism in the approach is caused by the detection and temporary fixation of fundamental changes in the indicated direction using, in fact, purely philological tools.

The question of the origin of the author's song was first raised in the dissertation study of the art historian M.V.Kamankina ^[21] "Amateur author's song of the 1950s-70s (on the problem of typology and evolution of the genre)" (1989). Based on the analysis of the works of V. Vysotsky, the origins of the direction can be traced in thug songs. In addition, regarding the form, the specific theatricality of the direction, borrowed from the work of A.Vertinsky, was noted.

Russian Russian philologist I.A.Sokolova in 2000, in his work "The Formation of an author's song in Russian Poetry (1950s-1960s)" ^[41] adds urban romance, as well as Russian folklore, to the possible origins of the direction ^[11]. Further, the culturologist E.H.Khomutova in the work "The phenomenon of author's song in the national culture of the middle of the XX century" (2002) ^[48] focuses on parallels with the medieval song tradition, noting the oppositional tilt of the author's direction. In the same context, the romantic component of the author's song is considered, creating a kind of synthesis of modern values and so-called eternal values. In 2008, philologist I.B.Nichiporov ^[33] turned to purely Russian origins, closely analyzing the features of elegy, elements of romanticism and folklore. In 2011, cultural critic O.V.Yankovskaya ^[49] considers the author's song as a synthesis of the folk culture of Ancient Russia and European romance. At the same time, Soviet bards are interpreted as modern fools, folk accusers.

Sometimes the author's song is considered as a purely youth phenomenon, while analogies are drawn with Western movements, for example, hippies. For example, in 1997, S.P. Rasputin considers the author's song as a movement based on young people with liberal views ^[38]. According to the researcher, this social group is characterized by universal humanism, the values of independent private life and a kind of "depoliticized patriotism". However, the parallels with Western socio-cultural youth movements are not convincing, because the true youth movement exists outside the context of the level of education and always captures older students, which was absent in the specifics of the movement of the author's song. Unlike, for example, Russian rock. In addition, it can be noted that by the time the author's song was born, many famous bards had even come out of college age (for example, M.Ancharov, B.Okudzhava, A.Galich). In addition, some of them adhered to pro-Soviet views (for example, N. Matveeva and the founder of the author's song M.Ancharov ^{[2; 13]}).

In addition, it should be noted that the interpretation of the author's song as an exclusively protest or opposition movement, which runs through many works, raises significant doubts. You can type a whole series of songs that are difficult to attribute to protest (for example, "I invite you to the woods" by A.Yakusheva and Yu.Vizbora, "The word "comrade" and "Song about Russia" by M.Ancharov). Moreover, the Soviet system sometimes promoted the work of some bards on an official basis. Thus, the socio-political newspaper Komsomolskaya Pravda published the works of N. Matveeva, some of which became bard's works (for example, "Kipling") ^[31]. In addition, an anthology of the author's song "How reliable the Earth is" was published in 1969 ^[20]. Also, do not forget that some authors recorded songs for films that caused resonance not only in the bard's circle (for example, "Alexandra" Yu.Vizbora, S.Nikitina, D.Sukhareva for the film "Moscow does not believe in tears", "We need one victory" by B.Okudzhava for the film "Belorussky railway station"). In fact, if we leave out the very specific second half of the 80s, only A.Galich and A.Mirzayan can be called unequivocally and irrevocably fronting popular authors.

It is easy to see that, leaving aside some inconsistency of the listed concepts, they all represent an attempt to expose the genesis of the song direction as the development of ideas. And actually, they ignore the question of why this very extraordinary surge of amateur creativity occurred precisely in the second half of the 50s of the last century. Why didn't it start earlier or later? Why did it happen at all and, symmetrically, why did it disappear, dissolve as a mass cultural phenomenon? For example, the initiator of the direction, front-line soldier Mikhail Ancharov, wrote and performed songs in a narrow circle back in the 30s. However, a chain reaction of new authors and performers arose only after twenty years. Then, in order to move forward, we will try to bring together the available starting positions obtained so far in our studies.

1) Earlier, using a comparative textual analysis of the author's song, Russian rock and Soviet pop song, a fundamentally different reaction to the socio-historical processes of the desired direction was shown by the method of macrosemantic categorical structures ^[17]. Recall that the analysis was carried out by identifying two fundamental oppositions "private-universal" and "order-chaos" with elements of thematic characteristics. Other behavior, which can be traced in dynamics, was reflected, for example, in the absence of a tilt of the author's song to the parameters of market pop culture, which happened both with original Russian rock and with the originally Soviet pop.

2) An accentuated analysis of the dynamics of the number of identified structures in 487 popular works made it possible to determine the crisis, bifurcation period in the author's song as in the "authors-performers-listeners" system ^[14]. And a comparative analysis of 768 works of different directions further only deepened its interpretation ^[17]. Thus, the possibility of applying complex structural and semiotic philological tools to culture-society systems was shown.

3) Repeated statements by the actors of the movement themselves indicate some kind of intelligentsia or intellectuals ^{[35; 28]}. However, intellectuals are different, which pushes us towards the need to narrow down the potential set. The possibility of specific identification, which cannot be reduced to conditional age, gender or territorial filters, was previously shown on the basis of fundamentally different reactions of dialectical structural indicators to the dynamics of social events ^[17].

Let us recall some of the provisions of the new philological instrument used further. Let it be possible to divide the text into some blocks that have a certain semantic unity. We will assign them designations, signs that can take only three meanings - "yes", "no" and "uncertainty". Then, by hypothesizing the presence of two opposite meanings and tendencies in the text, we can try to assign one of these meanings to each sign. Thus, with respect to the stated dichotomy, we will get some extremely simple structure of the text in the form of an alternation of meanings, or the absence of alternation, or we will find complete uncertainty. Having examined a sufficiently large and correctly compiled sample of dated works, we will be able to judge certain trends in the textual direction, genre or work of a certain author. The described approach was called the method of macrosemantic categorical structures.

Songwriting, due to the superposition of textual and musical rhythms, turned out to be the most suitable testing ground for testing this approach. Yu.M.Lotman ^[29] also noted that structurally and rhythmically distinguished text blocks of the order of the stanza of poetic works have a special semantic and emotional unity. Then we can try to generalize the meanings of these elements to the level of philosophical categories. In our context, this will be a dialectical pair of "private-universal".

This categorical semantic rhythm is a fairly broad generalization, including not only the dialectical variations "great-low", "sublime-mundane", "public-personal", but also "plural-singular", "general-private" and others. Working with these oppositions is the essence of successful productive scientific activity (inductive and deductive), the activity of a designer, a developer. There is simply no scientist without her. In other areas of human activity, this is possible, forcing the use of this dichotomy only occasionally. Now let's remember that the share of resonant works with the structure "private-universal" in the author's song is 43% (out of 487 songs), in the Soviet stage - 14% (out of 181 songs), in Russian rock - a drop from 55% to 14% (for 100 works) ^[17].

Then let's formulate a hypothesis: the author's song is the fruit of the development of a social group of scientists and developers, i.e. scientific and technical intelligentsia. Such a cultural community is a kind of consistent fusion, a symphony of authors, performers and listeners, fans, strongly blurred at the edges. Authors who have resonated with the community generate new performers and push new authors from the same fan base. At the same time, the blurring of the multitude at the edges means that many fans can also rejoice in rock, jazz, folk motifs and elements of the Soviet pop song prevailing in the general system.

For simplicity, we will divide the desired cultural field into two components — authors and fans, i.e. a resonating environment. The latter is the environment of scientists and developers. Let's try to apply the existing philological structural tools to this environment. One of the ways in which this community communicates both with itself and with the rest of society is the texts of scientific papers. Since it was previously discovered that the structure of the "private-universal" in the lyrics of the author's song is on average many times higher than the corresponding values for other song directions, we will try to identify it in scientific works.

For example, let's take an article from the borderline humanitarian and natural science approaches of science — archaeology. Let it be a polemical work by V.A.Trifonov "The origin of the ceramic complex of the Dolmen culture of the Bronze Age" ^[45]. Note that for our categorical structural analysis, there is no need to delve into the specifics of a narrow scientific field. It is enough to understand Russian.

There are three large blocks in a short article on the problem of the origin of a well-known archaeological culture. The first block, designated as an "introduction", is historiography and problem statement. The second block, which occupies most of the article, is the body of work itself. It is dedicated to the excavations of the archaeologist M.Rysin, specific finds of ceramics and their analogues, discussion of particular assumptions as M.Rysin, and the author himself on the same topic. The last block ("East Black Sea Cultural Province") is a synthesis, generalization of the discussion and formulation of several assumptions that will influence the strategy of further research. Thus, in the terminology of the macrosemantic opposition "private-universal", we can designate the existing structure as "universal" (block 1), "private" (block 2) and again "universal" (block 3).

In principle, the semantic analysis could be completed at this step, since the structure has been identified. However, the architecture of scientific works is clearly deeper than we have indicated, and therefore, for illustration, we will analyze the first block separately, the introduction.

The block is quite obviously divided into 4 semantic parts. The first three are conditional text modules related to the history of archaeological research by three archaeologists — V.I.Markovin, L.N.Solovyov and M.B.Rysin. The last module is actually a generalization of the issues related to dolmen culture and setting the task for further discussion. That is, the last module is an explicit "universal". But let's return to the named modules. Each of them, despite the different size, can be divided into two parts. The modules of the first two archaeologists, V.I.Markovin and L.N.Solovyov, begin with a generalization of their achievements and statements, and end with specific examples from excavations (V.I.Markovin module) or a specific failure in generalizations (L.N.Solovyov module). That is, here each module can be structurally generalized to a bundle of "universal-private". The third author's module by M.B.Rysin, on the contrary, begins with a description of relatively new specific excavation results ("private") and ends with a brief generalization of their significance for the dolmen culture of the Caucasus ("universal"). Then the entire introduction block is divided into structural elements as follows: "universal" (block 1, introduction) > ("universal"-"private", Markovin module) — ("universal"-"private", Solovyov module) — ("private"-"universal", Rysin module) — ("universal", the final module). Or, taking into account the rule of absorption of neighboring blocks of the same name ^[16], in a shortened form it can be represented as V-H-V-H-V.

As we can see, the modern scientific text is quite unambiguously subjected to the simplest dialectical structural division. At the same time, here we see a new element — structural nesting, which is not typical for the poetic song form. It is clear that we have now considered only a small polemical article, in which there are only two levels of division. In large forms of scientific texts (monographs, textbooks), we will be able to see much more levels of nesting. Special attention is drawn to the fact that the minimal, already indivisible blocks have approximately the same size in words as the poetic ones, i.e. the size of the stanza order.

Basically, we've just seen a practical banality. Logical swings of the form "statement — a set of particular illustrations", "general assumption — a particular counterexample", "enumeration of particular possibilities — generalized conclusion" and so on, as special cases of the rhythm "private-universal", are an integral structure of communication accepted in the scientific community. We have only generalized these schemes to the very limit, to the level of philosophical categories, no more. Once again: any scientific work, even at the first, fleeting glance, contains at least an introduction with elements of historiography and problem statement, the body of research itself and some conclusions in the form of generalizations, new statements, perspectives, i.e. the one-level structure "universal-private-universal" is always present.

An obvious logical question arises: when did this dialectical macrostructure manifest itself? Since we have already found out that it is inseparable from any modern scientific work, it makes sense to turn to the very origins. If we define science as the study and comprehension of objective reality, then priority in Ancient Greece, at least, should be given to historians, whose texts have come down to us not in fragmentary retelling and not fragmentary. Otherwise, obviously, the philological analysis will become too ambiguous.

Previously, we note that in order to detect the desired structures, it is not necessary to parse the entire text of the work now. For our purposes, it is enough to identify these structures and, possibly, determine their nature. Deeper research can be left out of the brackets for the time being. So, Ancient Greece, the 5th century BC.

First, let's turn to the "History" (or "History of Ancient Greece") Herodotus ^[8]. From the very beginning, the block (Hdt.I.1-5), which discusses the semi-mythical history of Lydia, the causes of historical conflicts, and with elements of historiography, catches the eye. With respect to the rest of the first book of "Clio", it can be considered "universal" in our terminology, and the rest of it is actually the body of research, "private". However, if you read it carefully, this introduction, in turn, is divided into modules of the next level. The very beginning of the first paragraph is a summary of the objectives of the study, while the rest is devoted to the version of the abduction of Io, i.e. here we see a combination of "universal-private". The following two paragraphs (I.2-3) briefly describe further stories of mutual abductions of Io, Medea and Elena, which allows us to designate them as relative "private". The next paragraph (I.4) summarizes the abduction stories, and then (I.5) the author smoothly proceeds to some generalization of his position as the author of the story. As a result, we get the following division of the introduction: "universal" (block 1) > ("universal" -"private", I.1) — ("private", I.2-3) — ("universal", I.4-5). As we can see, the first historical scientific work already has a two-level dialectical structure. However, it is not stable — then a fairly linear narrative begins with very rare blocks of generalizations and conceptualizations.

The "History" (or "History of the Peloponnesian War") of Thucydides has a different, much deeper, multilevel semantic architecture ^[47]. The very first book is, in fact, a precursor, an extensive introduction to the entire history of military operations. There are also historiographical blocks, descriptions, characteristics of individual city-policies and generalizations to the whole of Greece, the history of individuals, leaders and again generalizations on another level. Only repeated thoughtful reading allows you to remove layer by layer the equally multiple levels of nesting of logical dialectical chains. Note that previously, when analyzing songs, we were satisfied with an excess of a two-pass algorithm ^[16], and then not in all cases.

Despite the fact that there is no doubt about the presence of the desired structures here, we will still make a small illustrative structural excursion at the lowest level of the hierarchy. At the paragraph level, Thucydides often uses a logical "thesis-disclosure" scheme, i.e. some general statement, and then its justification with the help of specific examples and individual considerations. This is already the first paragraph of the first book. Here, the thesis ("universal" in our interpretation) can be designated as the first two sentences "Thucydides the Athenian described the war of the Peloponnesians with the Athenians ..." (Thuc. I. 1), and everything else — "And he reasoned so because ..." there is his disclosure ("private"). And further, in the second paragraph we read the thesis "... the country now called Hellas has only recently acquired a settled population ..." (I. 2), and from the next sentence ("Indeed, there was no trade existing now ...") we see a set of more specific examples and explanations. And again, in the third paragraph (I. 3) at the beginning, the thesis is expressed about the weakness of Hellas in antiquity (the first two sentences are "universal"), and then it is revealed through a historical excursion about the disunity of tribes, including with references to Homer (more specific, particular elements). As you can see, sometimes this structure is written explicitly, through linguistic constructions, sometimes you have to delve into the meaning of the text yourself, and sometimes it is simply missing. For example, the local conclusion "These were the causes of mutual ..." (I.146) on previous events, where the local generalization occupies the final paragraph of the introduction (the first book) in its entirety.

In Xenophon's Greek History ^[25] the picture is completely different. From the position of searching for structures, it is immediately clear that the beginning of the treatise has been lost, which, in general, has been known for a long time. But further on, we see an increasingly linear story without any special digressions. However, Xenophon sometimes has voluminous and very specific speeches here, and often located closer to the end of one of the books. We will now completely move away from the historical authenticity or political meaning of these speeches, but from a semantic point of view, we will pay attention to the sharply distinguished generalizing beginning of each text. For example, such are the speeches of the Athenian Euryptolemus (Xen. Hell.I.7.16-34), the Athenian Thrasybulus (II.4.40-42), the Theban ambassador (III.5.8-15), the Corinthian Clytel (VI.5.37-49). Then it can be argued that at least a one-level structure of "private-universal" is present in Xenophon's "Greek History".

To correct the understanding of the author's scientific style, let's turn to other works. And we immediately see that, for example, in the analytical treatise "Lacedaemonian politics" ^[26], the structure, sometimes even two-level, is very clearly visible. And at the lower level of the hierarchy, we often find logical constructions in the style of Thucydides. For example, chapter 13, "The way of life of the king in wartime" begins with the thesis "I will state the meaning and honor granted by Lycurgus to the king..." (Lac.pol.13.1), and ends with the generalization (13.10) "With such a course of action during the campaign, the king has nothing left but to be a priest before the gods and the commander before the people." The paragraphs themselves can also have a structure of the next level. For example, the story of the victims (13.2) has an explicit "universal-private-universal" structure.

Turning now to ancient China, we will again focus on historians. It so happened that for China of the first millennium BC, the so—called "chun qiu" ("spring and autumn") became characteristic - rather dry local chronicles tied to a kingdom or house, and, as a rule, without authorship. The most famous treatise is the canonical "Chun Qiu" attributed to Confucius. Then comments on these chronicles by other authors began to appear. In order not to delve into the controversial problems of authorship or the actual dating of a text, we will immediately pay attention to Sima Qian's fundamental work "Historical Notes" ("Shi Ji"), written at the turn of the second and first centuries BC. Thanks to the epic work of R.V.Vyatkin and A.R.Vyatkin, as well as other translators we can now work with this text in Russian ^[44]. To clarify the parallels with Greece in scale, N.I. Konrad compared the work of Sima Qian not with the first historical chronicles of Hellas, but with the "Universal History" of Polybius (2nd century BC) ^[22].

Figure 1. The hierarchical architecture of Sima Qian's work "Historical Notes" ("Shi ji") in the sense of "private-universal" structures

The upper level of division in terms of "private-universal" is revealed when reading the final chapter 130 (Fig. 1). Against the background of his own biography and the history of the creation of "Historical Notes", the author briefly talks about all available philosophical concepts, and then scrupulously lists the contents of all chapters of the work. Thus, we have: chapter 130 is universal, everything else is private.

The second level of the dialectical hierarchy in the space of the first 129 chapters (the quotient of the first level) is revealed using the construction "I, taishigun, the Court historiographer, I will say so ..." or similar. It is almost always followed by certain generalizations, remarks of a historical, philosophical, economic, geographical, source-based or other nature. This summary (afterword) is present at the end of each chapter of the first section "Basic Records" (chapters 1-12). The section of "Chronological tables" (chapters 13-22) is arranged differently: in the initial chapter 13 there is both a preface and an afterword (late insertion), and in the remaining chapters of the section there is only a preface to the tables. The section "Treatises" (chapters 23-30) also has its own peculiarities. The construction "I, taishigun" here has the rank not of generalization for the entire chapter, but only of a local remark along with similar other generalizing digressions. In the section "Hereditary houses" (chapters 31-60), the author returns to the previous structure of the afterwords, except for chapter 60, which was lost and re-written later ^{[24, p.29]}. Chapters 35, 49 and 59 contain two author's remarks on behalf of taishigun, but only the latter can be considered generalizations for the entire chapter, the rest are local.

The last section of the "Biography" (chapters 61-130) in the context of the private first level is considered up to and including Chapter 129. Here again, only the afterword is present everywhere, except for some exceptions. Almost everywhere, chapter-level generalizations are associated with the first-person text in the form of the same construction "I, taishigun". Almost all the exceptions relate to the last ten chapters of the treatise and are associated with a change in the format of the narrative — we are no longer talking about one or two important historical figures. Chapters 61 ("Biographies of Bo Yi"), 119 ("Biographies of worthy Officials"), 122 ("Biographies of cruel Officials"), 124 ("Biographies of Yuxia (wandering Heroes)"), 129 ("Narrative of the increase of wealth") have a preface and an afterword. Only the preface is present in chapters 74 ("The Lives of Meng Tzu and Xun Qing"), 121 ("The Lives of Confucians"), 127 and 128 about fortune-tellers and fortune-telling. In chapter 104, "The Biography of Tian Shu," there is a generalizing insert in the middle, and in chapter 126, "The Lives of Witty [advisers]," there is both a preface and a generalizing insert in the middle. However, the middle position is due to the later additions of Chu Shao-sun of the 1st century BC, noticeable in construction ("I, teacher Chu, will say so ..."). In other words, the original structure of the chapters is reduced to those preceding in the section.

Note that the sections "Treatises" and "Biographies" are historical and analytical, and therefore they are easily divided into blocks, like any modern scientific text. For the chapters of these sections, this will already be a division of the third level (minus the prefaces and afterwords described above). In turn, the relatively short blocks of the second level ("universal" — prefaces and afterwords) themselves often can no longer be separated in our terminology. The autobiography of Sima Qian, the block of the "universal" first, upper level (chapter 130), is divided without much research into transitions from the actual biography of the author ("private") to the generalizing blocks of the general description of the content, philosophical trends and the reasons for writing the work itself.

Of particular interest in the experience of identifying the desired structures are the chronicles themselves, i.e. the sections "Basic Records" and "Ancestral houses". Of course, we mean the division of huge blocks of the "private" second level, the chapters themselves minus the structures of "I, taishigun" in the form of afterwords and prefaces. The plots here are described by the author quite linearly, practically without pronounced generalizations and digressions. However, several unusual techniques have been identified. Let's show them by the example of episodes in the history of Emperor Gaozu, the peasant son of Liu Bang, the founder of the Han Dynasty (chapter 8).

In any story there are certain turning points, episodes of bifurcation, uncertainty, when all further developments depend on the resolution of the situation, and in the case of the emperor, the fate of the empire. Between these events, life seems more natural, taking place in the vicinity of a certain rut, albeit difficult. Of course, historians see these moments, and everyone sees them differently, which depends on their worldview, experience and the availability of initial historical data.

So, episode one, relating to the birth of the future emperor. From the perspective of a historian, the birth of the future founder of the dynasty is an important element. And Sima Qian highlights it in a mystical way: "... thunder rumbled, lightning flashed and it got dark around. When Tai Gong went out to see where his wife was, he saw a scaly dragon above her. After a while, she carried, and then gave birth to [the future] Gao-tzu."^[44]

Episode two refers to a story in which the future emperor, due to circumstances, decides to give up the career of an official and goes into the unknown, gaining followers at once. The moment with the snake killed by Liu Bang is important to us here. The followers saw an old woman who is supposedly the mother of the White Emperor who allegedly turned into a snake and who called the winner of her son the Son of the Red Emperor. Further, "people thought that the old woman was lying and wanted to beat her, but the old woman suddenly disappeared" ^[44].

We could assume that Sima Qian is a mystic who saturates the chronicles with dubious stories. However, in the historian's afterword to chapter 123, for example, we read: "... is it possible to agree with what is written in [Yu] ben ji about Kunlun? If Shangshu basically correctly describes the location of the mountains and rivers of the nine regions, then I do not dare to talk about the miracles mentioned in Yu benji and Tanhaijing."^[44] In other words, the author is not at all interested in mysticism and miracles, even those described in the relatively authoritative works of his predecessors. Consequently, in the above episodes, Sima Qian uses this technique to specifically emphasize the extreme importance and fatality of what happened. And in our terminology, it raises them to the relative level of "universal".

The second technique that I would like to focus on is speeches. Sometimes they are historically more or less reliable, i.e. they are given according to some sources. But, as Yu.L.Krol ^[23] noted, "Sima Qian often used the direct speech of some "third person" to express his own point of view about the issue raised or about a historical figure." If we turn again to the history of the ascension to the throne of Gaozu (chapter 8), the author gives a very characteristic two speeches after the final victory in the war for the throne, provoked by the emperor's question "... why did I acquire the Celestial Empire and why did the Xiang clan lose it?". ^[44]

So, we have now identified three levels of the hierarchy of the "private-universal" structure (Fig.1). And it is clear that, as in a modern scientific text, they can be supplemented locally, especially in sections of treatises and biographies. But there is another possible way associated with the specific ancient Chinese canonization of text structures, identified by V.S.Spirin ^[42].

For the completeness of the coverage of the first author's scientific texts, let us turn to India. It so happened that the beginnings of scientific thought here do not relate to historical works, but to linguistics, to the history of the formal creation and canonization of Sanskrit. First of all, this is Yaski's Nirukta with Nighantu, an explanatory dictionary with semantic analysis of language and theory of morphology of words, as well as Ashtadhyay ("Eight Books") Panini is a strict formal grammar of Sanskrit. Both works have ambiguous dates and apparently belong to the interval of the V-IV centuries BC. Both works are the final chords of a long scientific trend, as can be seen from the numerous references to their predecessors. In terms of the structures sought, Yaska's work is more convenient and unambiguous, but Panini's work is especially interesting because of its greater scientific character and contribution to the development of linguistics in general ^[18]. That is why we will focus on the "Octateuch", more precisely, on their English translation ^{[50; 51]}.

Panini's text reads like a strictly algorithmic set of definitions and rules, almost like a modern program. For example, (Panini, 1.4.2) "If [a contradiction arises between two rules regarding one phenomenon], then the one introduced later is accepted for execution" ^[5]. Or (8.4.50): "According to Shakatayana's remark, there is no duplication if consonants follow in a row in the number of three or more" ^[51] (our translation is S.V.V.). However, at the very beginning of the treatise, before all the rules, there is a separate list of 14 sutras. The block is a functionally ordered list of phoneme sequences, a specialized alphabet that "formed the basis and key of the entire grammatical system of Panini" ^[10]. The followers, impressed by the beauty of the solution, called this block the Shiva Sutras, and this term has entered modern scientific usage. Thus, the topmost level of the partition in the sense of "private-universal" is defined as follows: The Shiva sutras are universal, and everything else is private.

Further identification of the desired structures of the "Octateuch" and their hierarchies can go in different ways. We will now only outline possible directions that are becoming quite transparent thanks to the work of O.A.Voloshina ^{[4; 5]}. Thus, all sequences of rules have a hierarchical structure: definitions (mainly the first volume), capital rules for defining the topic, prescriptions with conditions for creating word forms and interpreters for conflict resolution ^[4]. Then "the set of definitions of sa?j and the rest" is the next level of division, and the constructions "the specific capital rule of adhik?ra — the rest in sequence" will become the final division. Of course, there may be other ways to structure the Panini sutras. But what is important to us here is the very fact that there is a multilevel structure of "private-universal" in such an ancient text.

Thus, we have shown that the structural rhythm of the "private-universal" is characteristic of the entire temporal space of the existence of scientific thought. An appeal to the scientific origins of significantly different cultural traditions proves that this structure is a cultural invariant, that it is not a simple development of the features of the European scientific tradition. And then it stems both from the nature of the work itself and from the style of presenting its results to the court of society. Moreover, it can be argued that the very style of thinking of people who have devoted themselves to the study of objective reality and the creation, development of new elements of this very reality is also subject to this rhythm. At least in matters closely related to science.

And now we need to bridge the gap from the style of scientific thinking to art. Let's remember what else J.Lacan drew attention to the fact that "the unconscious is structured like a language" ^[27]. It is obvious that essentially professional, or just basic activity, associated with constant private concrete research, calculations, constructions, alternating with the search for analogies, generalization, refutation and again with immersion in momentary concreteness, imposes its own characteristics on subjective cognitive constructions, conscious, and with increasing professionalism, and unconscious. Next, we can rely on D.V.Ushakov's structural-dynamic theory of intelligence ^[46]. The individual cognitive structures developed by successful and repeatable, first of all, professional activity are then applied initially in all other secondary areas. And they will be used until these structures — algorithms of previously successful solutions — systematically lead to failures. It follows from this:

1) the author of literary texts, including poems, from the scientific environment will unconsciously gravitate towards the appropriate scientific structure of his writings;

2) a social group from the scientific and design environment will also unconsciously better perceive appropriately structured information, including artistic information. And, if this group is large enough, to raise, support, nominate the relevant authors or their individual works. This resonance of understanding, recognition, and empathy forms an inseparable symphony of authors, performers, and listeners singing along (aloud or internally).

Note that D.M. Ushakov shows how an individual cognitive structure is formed, which should differ from a mathematician, circuit engineer, programmer, nuclear physicist or geophysicist. But we have specially formed the most generalized categorical structure that covers all these variations. Therefore, we have the right to expect that this structure will manifest itself to the greatest extent in the textual poetic form associated with the community of scientists and developers. Which, in general, turned out, according to the analysis of the most resonant works of the author's song.

In fact, we have now shown the mechanics "from below" to a greater extent, i.e. from the fans with a dominant professional roll. Which, however, generate both forms of distribution (chains of performers) and the authors themselves. Recall that since the author's song practically did not intersect with the mainstream of state art, and therefore was not distributed through the mass media of that time, the aforementioned chains of unknown performers determined everything for popularity and promotion. However, it would be interesting to see or at least check how the conditional mechanisms of the desired structures work directly in the work of specific authors.

To do this, we recall and briefly reformulate the results of the study of A.Mirzayan's work ^[12], placing the necessary accents. The peculiarity of the author is that about half of the works were created based on poems by other poets, the absolute majority of which are works by I. Brodsky and V. Sosnora.

Firstly, the percentages of "private-universal" structures immediately attract attention. If in their own texts the percentage of presence of PM rhythms is only 30%, which is even lower than the average value for the entire direction of the author's song (43%), then in songs based on poems by third-party authors the picture is completely different. So, for the poems of I. Brodsky — 59%, V. Sosnora — 60%, for the poems of other poets — 47%. Already here we have the right to suspect that the musically gifted author, for some reason, is not entirely satisfied with the lyrics of his own songs, and he refers to the lyrics with great importance, in fact, of a philosophical dialectical rhythm.

Secondly, the results of the modified texts are even more significant. Of the published songs, A.Mirzayan changed the texts of third-party authors in 25 works. The changes concerned words, as well as rearrangements and discarding of stanzas. As a result, in 17 works, rhythm manifested itself after polishing, and 8 remained without structures, as they were. But there is not a single example where the structure has disappeared. Thus, we have established that the nuclear physicist A.Mirzayan created structures, made them more distinct or simply preserved them, but never broke them.

So, we have reproduced the structural and semantic aspect of generating the direction of an amateur song. But, of course, there are other elements of the mosaic of the phenomenon that relate more to thematic analysis. The fact is that, it turns out, we have identified an element of alternative dominance of the social group of scientific and technical intelligentsia among the entire intelligentsia of the country, minus the party and managerial elite. Of course, this was a direct consequence of the country's rapid high—tech rise - successful atomic research, space, computers, programming and much more could not but have an impact on the minds and moods of society, especially educated ones. If we take the recognized founders of the author's direction, then the first poem by B.Okudzhava was about Tsiolkovsky ^[34]. And M.Ancharov's prose has always been rigidly connected with the controversial topic of the fusion of science and art in one form or another. Let's also recall the poems of the young Novella Matveeva about the first automatic station that reached the surface of the Moon ^[32], written before it was incorporated into the system. All three were and remained extremely far from any independent technical or scientific activity.

We should also add that many popular authors of the field were themselves scientists. These are Doctor of Biological Sciences D.A.Sukharev (Sakharov), Candidate of Physical and Mathematical Sciences A.A.Sukhanov, Doctor of Physical and Mathematical Sciences V.S.Berkovsky, Doctor of Geological and Mineralogical Sciences A.M.Gorodnitsky, Candidate of Physical and Mathematical Sciences S.Ya.Nikitin and many others. By the way, the first All-Union festival of author's song was held in 1968 near Novosibirsk in Akademgorodok by the club of young scientists "Under the integral" ^[19]. And, what attracts attention, we do not see among the most resonant authors ^[14] the scientific humanitarian intelligentsia. The first scientific publication devoted to the author's song, as we remember, was carried out by the art critic M.V.Kamankina only in 1989. In other words, it can be argued that the phenomenon itself has passed by scientific humanitarian thought for the time being, although it developed literally before the eyes of potential researchers.

The answer to the unanswered question may be the statements of V.Vysotsky, in which he himself strictly disowns the "bards", "minstrels" and in general from the entire movement of amateur song clubs and their concert activities ^[43]. The somewhat disdainful attitude towards the amateur movement, as an unprofessional, secondary one, paradoxically reproduced the attitude towards V. himself.Vysotsky from the cultural state elite of the Soviet Union. Which, we note, did not prevent us from exploring folklore and other folk art. And what is even more emphasized is the thesis that the cultural phenomenon under study is a derivative of the explosive growth — both quantitative and qualitative — of the natural science social environment of scientists, designers and developers.

Will we be able to verify this statement, obtained mainly by philological tools? To do this, let's take the dynamics of the distribution of researchers, designers working in academic, industry institutes, as well as design bureaus in the Soviet Union and Russia ^[2]. And then we will superimpose on it the available frequency dynamics of the generation of works of the author's song, compiled from 5 collections of different authors and collectives ^{[14; 17]}. The graph (Fig. 2) shows a distinct rise in the song direction in the mid-50s, correlating with a similar rise in the number of scientists and developers. In the first half of the 70s, a crisis in the worldview of cultural actors was visible, and in the late 80s, its outstripping decline (relative to the number of scientific and technical intelligentsia) was visible. It is not difficult to explain this outstripping decline by the beginning of the collapse of the scientific vector of the country and the reorientation of the corresponding society to other social strategies. In the 90s, the decline quickly reached a plateau, but here it is necessary to additionally take into account the well-known sharp qualitative changes in the composition of the scientific community. The rapid growth of the humanities was already conditioned by the needs of the market of the new economic model of the country. But the author's song, as a mass cultural phenomenon, as an art that regularly gathers full halls of cultural centers, lecture halls, vast forest glades, is no longer there. Which was noted by many popular authors even then ^{[35; 9]}.

Figure 2. Dynamics of the generation of works of the author's song and the number of scientific and technical social groups of the Soviet Union and Russia

The rather obvious correlation of the two processes obliges us to pay attention to the monograph of the Belarusian sociologist V.E.Smirnov "Social mechanisms of social development: sociological and historical and cultural reconstruction" ^[41]. Considering the development of such a socio-economic phenomenon as the Russian intelligentsia for two centuries, V.E.Smirnov shows the emergence in the 50s of the XX century of a special social group of scientists and developers. The author calls this group a "non-class" with its own special interests, with a special position in relation to the existing state system and with its own image of the future created by the works of the Strugatsky brothers and Ivan Efremov. And here we have the right to add that the described non-class was able to create its own song art, which existed further under the names of the author's, amateur, bard's song or simply KSP.

Thus, the correlation of the processes of author's song generation and the number of scientific elite through the method of categorical macrostructures passes into the rank of dependence. Moreover, it is the "motor", the essence of the processes, that is shown by the methods of detecting PM rhythmics. Then the bifurcation crisis of the cultural trend of the early 70s passes into the rank of a crisis of the sentiments of the Soviet intelligentsia in general. And multiple new consequences appear, which it makes sense to investigate and verify with the tools of other sciences — history, sociology, political science.

Let's now return to the very beginning, to the very origins of the phenomenon, but taking into account the results obtained. So, in the mid-50s, the vector of high-tech industrialization begins to bear fruit. New institutes are being organized, new directions are being opened, new scientific and production associations are being launched. The specifics of the Soviet new industrialization were numerous open and closed science cities: Dubna, Arzamas-16 (Sarov), Chernogolovka, Akademgorodok, Kaliningrad (Korolev), Obninsk, Zelenograd and many others. In the central cities, along with institutes and enterprises, educational institutes were also filled, which, by the way, conducted their own scientific programs. That is, scientific and technical growth was not only quantitative, but concentration was also growing rapidly. And there were a few songwriters who, without much pretension, performed them in their usual narrow circle. Like, for example, M. Ancharov. Having interests somewhat different from the usual Soviet mainstream, I wanted something more, something different. It was enough to put a match to this potential bonfire of a new cultural community. This match was, apparently, Mikhail Ancharov. And there was a chain reaction, an initial bifurcation, or what, after getting acquainted with I.R.Prigozhin's theory of systems, Yu.M.Lotman called an explosion ^[30]. A new art of a new young talented community has appeared. Again, Y.M.Lotman rightly defined the very first art, the simplest as melodies, primary songs ^[29]. Many authors have repeatedly said and written in different formulations from the very beginning that their songs are just poems to music. For example, M.Ancharov ^[1], B.Okudzhava ^[36], A.Galich ^[37], V.Vysotsky ^[7]. Not immediately, but obvious musical talents appeared — A. Mirzayan, V. Berkovsky and others. And by the end of the mass phenomenon, the melodic stars of the Mishchuk brothers and the universal duet of A.Ivashchenko and G.Vasilyev lit up. By the way, in our construction there is no strong contradiction with those authors who derive the author's songs from Ancient Greece, buffoonery or French chanson. The scientific and technical intelligentsia of that time was quite literate and, obviously, used in their work almost the entire accumulated potential of mankind. But she reworked significantly according to her own angle of vision, according to her interests and her dreams. Thus, the contradiction exists rather at the point of generalization of single fluctuations to the entire cultural trend.

Separately, in our context, it is necessary to explain the phenomenon of B.Vysotsky. As noted by Yu.Revich and V.Yurovsky, the primary impetus to the poet was given by Mikhail Ancharov ^[39]. but in.Vysotsky later did not join the cycle of concerts and amateur song meetings ^[3] and became, thanks to his talent and profession, in fact, a songwriter for the whole country. Regardless of the attitude to creativity, almost everyone knew him. They listened and sang it, of course, and within the framework of the author's amateur song movement, but not so actively. In other words, V. Vysotsky hooked the scientific and technical intelligentsia only with a part of his work. What is expressed in the framework of our research is that among the most resonant authors in five collections, he is only in third place after B.Okudzhava and Yu.Visbora ^[14].

In the late 80s - early 90s of the twentieth century, the author's song loses its social support, despite even the new technical possibilities of popularization, such as compilations, tape recordings, records, radio and television. We can say that she is even gradually being marginalized, returning to the state of the early 50s. But this is a different art, different people, different themes and other rhythms, and also a topic for new research.

So, based on the previously obtained data on the comparative dominance of the structural rhythm "private-universal" in the author's song, as well as the importance of such in scientific activity, we have built a hypothesis about the genesis of the author's song from a social group of scientists and developers. Further, we have shown that this structure is an integral cross-cultural characteristic of a scientific text throughout its existence. Then, using D.V.Ushakov's epistemological theory, we threw a bridge from the scientific text through the basic way of thinking to the lyrics of the author's song. We show how this works by the example of identifying these structures in the songwriting of physicist A.Mirzayan. Further, using elements of thematic analysis, we strengthen the result with phenomenological key examples from other authors. Thus, it is shown that the structure, which is always used in the main professional activity, also switches to a secondary cultural, i.e. amateur song. We check the result by overlapping the frequencies of the author's song (the graph was obtained earlier) and the dynamics of the number of scientists and developers in the country. We get a clear coincidence of the social rise with the corresponding cultural one. Thus, the mechanism of the genesis of songs with the structure "private-universal" is shown, as well as the dynamics of growth and extinction of a socio-cultural phenomenon.

In the context of our structural research, it can already be argued that this technique has some perspective not only in poetics, but also in complex prose texts. At the same time, it makes sense to focus not only on the presence of categorical macrostructures themselves, but also on the level of hierarchy and variations of vertical architecture. And, of course, one should not forget about the potential of other dialectical oppositions, not limited only to the structures of "private-universal" or the entropic structure of "order-chaos", which we used earlier ^[15].

Separately, I would like to draw attention once again to the fact that in mature, modern scientific works, the smallest structural blocks in size approximately correspond to those in poetics. Perhaps there is some promising pattern of figurative-logical minimal description of the idea, thought of the author.

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