ПОЭТИЧЕСКАЯ ТЕОРИЯ СВЯЗИ ЕЛИЗАВЕТЫ МНАЦАКАНОВОЙ

Abstract

This article is devoted to the study of communication strategies in the poetry of Elizaveta Mnatsakanova, one of the main Russian-speaking poets of the second half of the 20th century. Using the principles of working with sound and experimental musical composition, the author creates a very special poetic language that is typologically close to the so-called spectromorphology, an approach developed by the composer Denis Smalley in the 1980s. The author of this concept made a great contribution to the development of the theory of sound art, as he proposed a kind of grammar for electro-acoustic music. Elizaveta Mnatsakanova also creates a kind of spectromorphological worlds on the territory of poetry, organizing a series of words, decomposing words into separate elements and thus setting complex sequences of semantic metamorphoses. This poetic technique, outwardly resembling the practices of the avant-garde, differs radically from them, and this difference lies in the communication strategy used by Mnatsakanova. The fact is that it creates a special double addressing: poetic texts are simultaneously addressed to both the subject and nature itself. Thus, this poetry itself becomes a dynamic boundary between, in the words of Walter Benjamin, “the language of men” and “the language of things”. Through the practice of complex translation, the poet offers her own theory of communication, linguistically rethinking not only the relationship between the subject and the environment, but also the relationship between the interlocutors, even if they are separated in space and time. The material of this article was not only the poetry of Elizaveta Mnatsakanova, but also her essays on theoretical issues and practices of other authors. Poetic texts are considered in the article in the light of linguistic poetics, sound theory, translation theory and discourse analysis.