Vivien Leigh hummed an unknown ditty, held a few magazines in her hands, and ran back to the school dormitory at a steady pace.
"What are you so happy about?" Dany asked with a smile.
After hearing that Vivien Leigh became Zhou Hexuan's girlfriend and also attended the royal ball, her best friend Dani reconciled with her and often asked about things about the nobility. Especially when Prince Albert stuttered, Dani was shocked again and again.
She screamed strangely and begged Vivien Leigh to call her the next time she attended a noble ball.
Vivien Leigh arranged the magazines in her hands neatly, placed them on Universal, and smiled sweetly: "They are all articles about Xuan."
Dani felt sour in her heart, but she showed a bright smile. She opened a magazine and started reading. The article read:
"Mr. Zhou Hexuan, a litterateur from the Far East, has recently made a new interpretation of Shakespeare's plays. Mr. Zhou believes that the reflection of metaphor on dramatic emotions depends on the conceptualization of metaphor. Metaphor is a cognitive tool for us to conceptualize abstract categories. It is
An important method for understanding human cognitive ability, it allows cognitive subjects to obtain meaning and experience dramatic emotions in the process of judging and reasoning about propositions or conceptual structures...
For hundreds of years, Shakespeare's plays have been translated into many languages, and it is difficult for various versions to retain the original flavor. Mr. Zhou believes that translating Shakespeare's plays is to translate an encyclopedia that represents the civilizational achievements of the entire Europe during the Renaissance. It is a representation of
The historical, social, religious and cultural background of that era also reflects the people of that time breaking through the constraints of the Middle Ages, transcending abstract existence, and admiring real human life, interests, values, talents, dignity and achievements.
Shakespeare's plays express people's experience of the times through some image schemas reflected in metaphors, such as the disease intention schema in Hamlet, which represents the theme of tragedy, and the hunting intention schema, which represents the theme of hatred.
The cognitive process of Shakespeare's plays is actually the psychological process of reconstructing the metaphorical concepts of Shakespeare's plays. In this process, the presentation of different themes and images in Shakespeare's plays requires the following steps to analyze the reproduction of the meaning and emotion of the script.
… Mr. Zhou Hexuan’s reinterpretation of metaphors in Shakespeare’s plays is undoubtedly a major breakthrough in recent drama research, and he has opened a new door to the drama research community.”
Dani finished reading the article in a daze, and said with confusion: "I still don't seem to understand."
Vivien Leigh smiled and said: "I don't understand it very well, but as long as I know that Xuan is very powerful, that's all."
Metaphors in Shakespeare's plays have always existed, and people often conduct research on them. However, in the past hundred years, "Shakespeare academic circles" have debated whether the imitative function of tragedy exists or not, leading to different views on Shakespeare's imagery and English.
The school of imagery-semantics believes that imagery is the life-view law of tragedy with poetic characteristics. Kellermann emphasized the relationship between the form and content of imagery to the development of the plot. Herman regarded imagery as the essence of intuitive language and advocated expression through media.
Thought.
As for the Oxford School, they have always believed that metaphors are useless, and even think that the metaphors in Shakespeare's plays are all redundant and redundant sentences.
Zhou Hexuan now proposes the concept of cognitive linguistics and understands metaphors in Shakespeare's plays from a cognitive perspective, which instantly caused a sensation in the entire British theater world.
Many people support Zhou Hexuan's research ideas, while many people stand up to oppose it, believing that Zhou Hexuan's ideas are fallacies and heresies.
Gasset of the Oxford School wrote an article to retort: "Metaphor is a useless figure of speech. It drowns and dissolves the theme. It has no other function except to defraud royalties. When writing dramas, you should use straightforward language and directly
The expression of ideas and themes. The metaphor in Shakespeare's plays is not as complex as Mr. Zhou Hexuan's analysis. It is just an ordinary creative method, and we should not over-interpret it."
In just a few days, the British cultural and drama circles started to quarrel. One group supported Zhou Hexuan's views and conducted in-depth research on it, while the other group mocked Zhou Hexuan's interpretation as purely redundant and a retrograde study of the concept of drama creation.
At the same time, the British linguistics community also began to pay attention to the cognitive linguistics proposed by Zhou Hexuan. Some linguists even wrote to the publishing house and asked Zhou Hexuan for details on cognitive linguistics.
Zhou Hexuan responded very generously and talked about cognitive linguistics from the beginning.
For example, metaphor theory is divided into three types in cognitive linguistics, namely ontological metaphor, structural metaphor and orientation metaphor. Metaphor does not only exist in literary works. It is also often used in our daily speech, such as cursing people and saying, "You are a pig."
". This is a metaphor. People are not pigs, but they can be as stupid as pigs.
After replying to the letter, Zhou Hexuan simply wrote a paper on cognitive linguistics and published it in a British academic journal.
Nowadays, a kind of "structural linguistics" is emerging in the West, often named after cities, such as the Prague School and the Copenhagen School. For example, the Prague School specializes in the study of "functional linguistics", and there is also the American Structuralism School in the United States.
.
The "cognitive linguistics" proposed by Zhou Hexuan is different from the current mainstream traditional linguistics and the emerging "structural linguistics". It immediately aroused the interest of many British linguists, and actually formed a "London" in the mid-1930s.
School", and then spread to the United States and France to form the "Paris School" and the "New York School".
Zhou Hexuan's new interpretation of Shakespeare's plays has never been finalized in the UK, with many supporters and many opponents. On the contrary, the "cognitive linguistics" he proposed spread rapidly in the UK and has blossomed into many ideas.
branches.
By the early 1940s, "cognitive linguistics" and "structural linguistics" had become the two emerging linguistic schools in the world.
During the Second World War, Zhou Hexuan's "cognitive linguistics" was even used by some European scholars as an anti-fascist weapon. Because this linguistic theory fully paid attention to the cognitive characteristics of different nations and their understanding of
On the influence of language expression, the research results of scholars from various countries have distinctive national characteristics.
Zhou Hexuan is also recognized as the founder of "cognitive linguistics" and plays an important role in the field of linguistics. In fact, Zhou Hexuan only wrote one paper, which roughly explained the basic theory of "cognitive linguistics". The rest
The content must be supplemented by subsequent researchers.
But no matter what, when future generations mention Zhou Hexuan, the title "linguist" cannot be taken off. No one doubts this. Even some researchers of Zhou Hexuan swear that Mr. Zhou can speak more than 20 languages.
and dialect.
There are also good people who make up side stories. For example, Mr. Zhou didn’t understand the language when he first arrived in a certain country, fell in love with a local girl and lived together and learned the language. This kind of nonsense love legend was actually made into a movie.
