Mythology and Heuristics in the Theory of Interpretation

Mythology is the necessary stage in the development of abstract thinking based upon the interpretation of syncretic verbal polysemy. In opposite to the ritualistic approach, it has been stressed upon the incoherence of myth with practical activity as the construction of an imaginary virtual world where the motivation of events is represented as the consequence of intentions. It gives rise to the development of negation and entails the priority of antitheses and dualistic worldview inherited in the baroque casuistic devices of confutation. Syncretic polysemy is then reconceived as the indefiniteness, whereas the metonymic prevalence in mythological text entails its complementary construction. The principles of indefiniteness and complementarity are inherited in heuristics as the solution of search tasks under the circumstances of the lack of data. The mythological concept of absurd gives rise to preponderant experimental errors. The mythological opposition of visible and invisible worlds correlates with the concept of the latent information of the second plane in theatre as well as the codification in myth with that of situations and characters in theatre. The metonymic row of myth is reconsidered as the gradual disclosure of circumstances on stage. The priority in the heuristic approach belongs to the exploration of characters’ faculties and intentions for the construction of a dramatic subjective perspective with the searches for the prototypes of dramatis persona.