The Soviet semiotics is rooted in tradition developed not by pure linguists, as it has been in Europe, and especially in United States, but also on ideas produced by literary scientists, especially in the OPOYAZ, Moscow Linguistic Circle and other formal and informal groups of the twenties combined both linguistic and literary interests. TMS that developed in sixties sought actively incorporate elements of formalists legacy, but as not a simple revival of formalist. Even in the first volume of Trudy po znakovõm sistemam (Lectures on structural poetics 1964), Lotman was quite critical to pure formalist statement and methods.  2nd phase The next step is to introduce the concept of text as the principal concept of cultural semiotics (Chernov text as “main hero” of TMS), since as a term it can denote both a discrete artefact and an invisible abstract whole (a mental text in collective consciousness or subconsciousness). Text and textualisation symbolize the definition of the object of study; the textual aspect of text analysis means the operation with clearly defined sign systems, texts or combinations of texts. The processual aspect of text analysis presupposes definition, construction or reconstruction of a whole. Thus the analysis assembles the concrete and the abstract, the static and the dynamic in one concept—the text.  3rd phase Yet the analysis of a defined object is static, and the need to also take into account cultural dynamics led Juri Lotman to introduce the notion of semiosphere. Although the attributes of semiosphere resemble those of text (definability, structurality, coherence), it is an important shift from the point of view of culture's analyzability. Human culture constitutes the global semiosphere, but that global system consists of intertwined semiospheres of different times (diachrony of semiosphere) and different levels (synchrony of semiosphere). Each semiosphere can be analyzed as a single whole, yet we need to bear in mind that each analyzed whole in culture is a part of a greater whole, which is an important methodological principle. It is an infinite dialogue of whole and parts and the dynamics of the whole dimension.