The indeterminacy principle in the application to Catherine Boyarskikh's poetic mentality

The lyrics of Catherine Boyarskikh are considered as an expression of a new trend - the development of an extra-discursive thought pattern. The acquisition of a new language, the overcoming of cultural predetermination of the world perception, of the recurrence of associations, of philological reflection over form are the aim of the extra-discursive thought pattern. The interdisciplinary approach allows characterising the combination of the indeterminacy of lyrical self-consciousness and the in-distinguishability of phenomena as a poetic expression of a non-classical world view, as an artistic version of the indeterminacy principle. The indeterminacy principle is used in non-classical physics as an assumption of inaccuracy of one of their simultaneous measurements - coordinates and kinetic momentum of particles. In psychology, this is a characteristic of the degree of tolerance of the individual to the instability of the world, which has already become universal in science, politics, and culture. It requires the distinctness of thinking and readiness for challenges. One of these challenges is the indeterminacy of meanings that modern art generates. The crisis of self-consciousness in the newest lyrics was expressed in the mistrust in the poet as an observer, participating in the determination and assertion of the content of life itself. The works of E. Boyarskikh can be characterised as the development of the indeterminacy principle in poetic mentality. The difference from the physical principle lies in the instability of both the external reality and the lyrical self-consciousness of the poet. The first factor reflects the influence of objective changes (the non-classical scientific world view) and the subjective worldview of E. Boyar-skikh: she "forgot how to separate" the incomparable ("Fire is like happiness, a bridge is like anility"). The lyricism of pure consciousness and the identification of oneself with the vision are developed: "I came true, I forgot / and became a glance". The artistic embodiment of the indeterminacy principle is diverse: the apophatic self-determination of the individual, language game, negative nominations, the antithesis of the title and the content of the poem, etc. The aim of the poet's work is to see the world unbiased, new, holistic and in the dynamics of the transformation of meanings. Indeterminacy as a theme and thought pattern converges with metaphysics: the object of comprehension is incomprehensible, the image of definition is non-naming, the way of saying is speech unpredictability. The aims are interdependent: the discovery of the unprecedented and self-determination in it, when questioning puts the questioner in question. The metaphysical direction in the lyrics developed at the end of the twentieth century, new poets (B. Ryzhiy, V. Pavlova, I. Ermakova, M. Ste-panova, A. Rodionov, etc.) turned their faces to the living life - its physiology and organics. The place of E. Boyarskikh in this series is in the unity of the dully metaphysical thinking and the shrilly physical sensation of reality.

Keywords

Authors

References