Ways of rhizomatization of the rock text in the context of studying the synthetic lingual personality

Within this material, we are making an attempt to analyse the synthetic lingual personality and the main ways of rhizomatization of a synthetic rock song text created in the sub- and countercultural epoch of Russian rock. In the context of the study of the synthetic lingual personality and taking into account the main sources of SLP production (composition / performance), the quantity of subject unities participating in the forming of SLP (mono-author SLP model / poly-author SLP model), as well as the SLP model (logocentric / rhizomatic), according to which a particular text was created, four basic kinds of synthetic rock texts may be distinguished: 1) logocentric mono-author ST; 2) logocentric poly-author ST; 3) rhizomatic mono-author ST; 4) rhizomatic poly-author ST. The principal properties of the rhizomatic model may be defined as follows: 1) the internal structure of a rhizomatic SLP is crucially non-continuous and incomplete; 2) it creates and destructs itself at the same time; 3) it is crucially open, i.e. it continues to develop regardless of the author's will; 4) the very notion of ''divine personality'' is neutralized, the author becomes a mute scripter who can only mix and reshuffle some (random) fragments of reality; 5) the cognitive and pragmatic level of SLP is organised not on the principles of harmonisation (verbal, music, articulation and image components), but on the principle of game-playing and spontaneous destabilization of all the components of the external lingual semiotic level of SLP. The process of rhizomatization of a synthetic rock text and SLP becomes active in two basic contexts: 1) in the context of forming of variants of the subtextual structure of the rock songs created in the sub- and countercultural lingual cultural epochs of Russian rock (LCE); 2) in the context of structure of the rock songs created in the post-countercultural LCE of Russian rock. Within this article we will consider the context of forming of variants of the subtextual structure of the rock compositions created in the sub- and countercultural LCE of Russian rock. In this case, the zone of potential / real activation of rhizomatic discourse often comprises ''iconic'' rock songs that were created in the sub- and countercultural LCE of Russian rock and obtained a status of precedent-setting texts and, consequently, a high potential of forming variants within the bounds of the author's discourse, as well as in the space of other, conditionally authorized discourse practices. Here we speak of the generation of various alternative (remix) versions of ''iconic'' rock songs or of modernisation, transformation and even appropriation of separate subtextual unities of precedent-setting synthetic texts and LCE components also tending to be precendent-setting.

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