Theatre concept in the semantic space of W.S.Maugham’s Theatre

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Contents Introduction 1. The theoretical aspect of concept 1.1 Concept as the basic term of the cognitive linguistics 1.2 The notion of theatre 2.THEATRE concept in the semantic space of W.S.Maugham’s “Theatre” 2.1 Theatre as it is viewed by W.S.Maugham 2.2 Theatre as people for W.S.Maugham’s 2.3 The place of tropes in W.S.Maugham’s presentation of the THEATRE concept Conclusions Bibliography Introduction The cognitive linguistics is the foundation for the new accents in the comprehension of language. These accents give some opportunities for the study of the interaction between human mind and cognitive processes. The cognitive linguistics is the separate direction of the linguistics that is characterized by the language as the general cognitive mechanism and

cognitive instrument located in the center of the science. The central problem of the cognitive linguistics is represented by the construction of the model of the language communication as the base for the exchange of knowledge [24; 32] The cognitive linguistics is formed on the base of several origins. For instance, cognitive science or cognitology, cognitive psychology, linguistic semantics are the foundation for the cognitive linguistics. Besides, the cognitivism studies the human mind, thoughts and mental processes and states connected with them. The problematic area of the modern cognitive linguistic is rather wide. [24; 35] We decided that it would be interesting to investigate the basic notion of cognitive linguistics on the basis of W.S. Maugham’s novel “Theatre“.

W.S. Maugham’s early reputation was based on his comedies of manners for the stage. Among the best remembered of his witty, cynical and frankly commercial plays are “The Circle” (1921), “Our Betters” (1923), and “The Constant Wife” (1926). W.S. Maugham usually wrote in a detached, ironic style, yet he often showed sympathy for his characters. His semiautobiographical novel “Of Human Bondage” (1915) established his position as a serious writer. “Cakes and Ale” (1930) is generally ranked next among Maugham’s novels. The author based his novel “The Moon and Sixpence” (1919) on the life of the painter Paul Gauguin. Maugham’s “Collected Short Stories” was published in four volumes in 1977 and 1978. [38] He published several novels, including “The

Hero” (1901), “Mrs Craddock” (1902), and “The Merry-Go-Round” (1904). He also continued to write plays and A Man of Honours was produced in 1903 by the Stage Society. Maugham moved to Paris and lived a bohemian life in the company of painters and writers, a period of his life he was to recall in “The Moon and Sixpence” (1919). The author’s later life was enlivened by the making of film versions of some of his excellent short stories “Quartet” (1948), “Trio” (1950), and “Encore” (1951), introduced by the author in person. He was made a Companion of Honour in 1954, and in 1962 he published “Looking Back”, a volume of memoirs which contained a vindictive and pointless attack on his deceased ex-wife, and which lost him many friends. “The Moon and

Sixpence” (1919), an exploration of the creative genius, based on the life of Paul Gauguin, confirmed his reputation as a novelist, and headed the long list of works inspired by the author’s travels in the South Seas.[38] All his best novels are written about artists: in “Of Human Bondage” the writer wrote about his own life, in “The Moon and Sixpence” (1919) he tells readers the story of the French Painter Paul Gaugin as it would be if the painter were an Englishman, Cakes and Ale (1930) is based on some facts from Th.Hardy’s life, the main character of “Theatre” (1938) is a London actress. Maugham’s position as a successful playwright was being consolidated at the same time. Generally the cognitive linguistics is the modern branch of linguistics appeared in