The 60s in the US: Phenomenon of the Myth’s Transformation into Mass Culture.

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Rock poetry is a multi-level phenomenon. Its texts are intentionally written for being performed on the scene. It is an undoubtedly mass genre of poetry, still, because of the vagueness of the notion of “mass literature” that is observed in modern literary studies, it should be made clear that in this context the word “mass” is rather applicable in the sociological that aesthetic sense. Rock poetry is characterized by a variety of forms and styles, nevertheless its orientation towards simultaneous perception by numerous audiences exerts a considerable influence upon themes and poetics of the texts. Unlike printed poetic literature, mass poetry is first of all aimed at not only conveying the semantic content of the text to the listener, but also at an active influence upon him / her, provoking his / her feedback. Dependence on the listener’s reaction, the two-channel creation and perception of rock poetry are the main form-building elements here. In fact, rock poetry is a whole complex of inter-dependent impulses and reactions that create the desirable effect during rock concerts. This complex character introduces elements of a ritual into rock poetry that, in its turn, conditions specificity of the text. My report is an attempt to reveal the character of functioning of the mythological and ritual in rock culture, their realization in the text and transformation as a result of being perceived by a large audience. In other words, I’ll try to briefly analyze the inter-dependence of the implicit and explicit, the realizational and essential aspects of rock culture.


Speaking about rock poetry, it appears necessary to distinguish between two kinds of mass culture that almost simultaneously appear in the US and refute each other. Applying the terms by A.G.Cherchesov that he uses in order to conditionally divide literature into high and mass layers, we could argue that while realistically oriented mass culture corresponds to the notion of a sign, the new mythology of the 60s rather acquires the meaning of a symbol. Orientating towards this definition, it appears possible to affirm the symbolic content of rock culture of the 60s that creates a new subjective reality having an immense spiritual and social significance. The newly created reality acquires the form of a renewed myth, but, as it will be proved in my report, the semantic aspect of this myth is gradually moved to the background. In the myth of the end of the 60s the realizational moment already dominates, which will later result in deterioration of the meaning of the phenomenon and substitution of the myth with a ritual, of the symbol with a sign.




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