The Rise of the Writers of the Republic of China

"La la la la la..."

Vivien Leigh hummed an unknown song, holding a few magazines in her hand, and ran briskly back to the school dormitory.

"What's so happy about it?" 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 inquired about the nobles. In particular, Prince Albert actually stuttered, which shocked Dany so much that she begged Vivien Leigh to invite her to the noble ball next time.

Vivien Li arranged the magazines in her hand neatly, put them on the shop floor, and said with a sweet smile, "It's all about Xuan."

Dani felt sour in her heart, but she showed a bright smile. She opened a magazine and read it, only to see the article read:

"Mr. Zhou Hexuan, a writer from the Far East, recently made a new interpretation of Shakespeare's plays. Mr. Zhou believes that the expression of metaphor to drama emotion depends on the conceptualization of metaphors. Metaphors are our cognitive tools for conceptualizing abstract categories. An important method to understand human cognitive ability, which allows cognitive subjects to gain meaning and experience dramatic emotions in the process of judging and reasoning about propositions or conceptual structures...

Mr. Zhou believes that understanding Shakespeare’s plays is to understand an encyclopedia that represents the civilizational achievements of the whole of Europe during the Renaissance, to understand the historical, social, religious and cultural background of that era, and to understand the People broke through the shackles of the Middle Ages, transcended abstract existence, and admired real human life, interests, values, talents, dignity and achievements...

Shakespeare’s plays express people’s experience and experience of the times through some image schemas reflected in metaphors, such as the schema of disease in Hamlet, which represents the theme of tragedy, and the schema of hunting, which represents the theme of hatred...

The cognitive process of Shakespeare's plays is actually the psychological process of reconstructing the metaphor concept of Shakespeare's plays. In this process, to present the different theme images of Shakespeare's plays, it is necessary to analyze the meaning and emotional reproduction of the script from the following steps...

Mr. Zhou Hexuan's reinterpretation of the metaphors of Shakespeare's plays is undoubtedly a major breakthrough in recent drama studies, and he has opened a new door for the field of drama studies. "

Dani finished reading this article in a daze, and said in a daze, "I still don't seem to understand."

Vivien Li smiled and said, "I don't understand much, but I just need to know that Xuan is very powerful."

Metaphors in Shakespeare's plays have always existed, and people often study them. But in the past hundred years, the "Shakespeare circle" has had different views on Shakespeare's imagery and metaphor because of the controversy over the existence of the imitative function of tragedy.

The imagery-semantics school believes that imagery is the law of the tragic view of life with poetic qualities. Kellerman emphasizes the relationship between image form and content to the development of the plot, and Ulman regards imagery as the essence of intuitive language, and advocates expressing ideas through media.

As for the Oxford School, it has always believed that metaphors are useless, and even think that the metaphors in Shakespeare's plays are long-winded and redundant sentences.

Zhou Hexuan now proposes the concept of cognitive linguistics and understands the metaphors in Shakespeare's plays from a cognitive perspective, which instantly caused a sensation in the entire British theater circle.

Many people support Zhou Hexuan's research idea, and many people stand up against it, thinking that Zhou Hexuan's set is fallacy.

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 cheat the manuscript fee. When creating a drama, you should use straightforward language and direct The expression of ideas and themes. The metaphor in Shakespeare’s plays is not as complicated as Mr. Zhou Hexuan’s analysis, it is just a common creative method, and we should not over-interpret it.”

In just a few days, the cultural and drama circles in the UK were arguing. One group supported Zhou Hexuan's point of view and conducted in-depth research on it, while the other group laughed at Zhou Hexuan's interpretation as superfluous 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, asking Zhou Hexuan for details on cognitive linguistics.

Zhou Hexuan replied very generously, telling 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—metaphors do not only exist in literary works, but are often used in our daily speech, such as swearing, "You 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.

Now a kind of "structural linguistics" is emerging in the West, often named after cities, such as the Prague School and the Copenhagen School. Like the Prague School, which specializes in the branch of "functional linguistics", there is also the American Structuralist School in the United States.

The "cognitive linguistics" proposed by Zhou Hexuan is different from both the current mainstream traditional linguistics and the emerging "structural linguistics". School", and then spread to the United States and France to form the "Paris School" and "New York School".

Zhou Hexuan's brand-new interpretation of Shakespeare's plays has not been settled in Britain, with many supporters and opponents. Instead, the "cognitive linguistics" he proposed spread rapidly in the UK, and blossomed into many branches.

By the early 1940s, "cognitive linguistics" and "structural linguistics" had become two emerging schools of linguistics in the world.

During World War II, Zhou Hexuan's "cognitive linguistics" was even used by some European scholars as an anti-fascist weapon. Because this linguistic theory fully pays attention to the cognitive characteristics of different nations and their impact on language expression, the research results of scholars from various countries have distinct national characteristics.

Zhou Hexuan is also recognized as the founder of "Cognitive Linguistics" and holds a pivotal position in the field of linguistics. In fact, Zhou Hexuan only wrote one paper, which roughly explained the basic theory of "cognitive linguistics", and the remaining content must be supplemented by later researchers.

But no matter what, when later generations mention Zhou Hexuan, the title of "linguist" cannot be taken off. No one doubts this, and even some researchers of Zhou Hexuan have vowed to claim that Mr. Zhou can speak more than 20 languages ​​and dialects.

There are also good-for-nothing people who compile lace stories. For example, when Mr. Zhou first arrived in a certain country, he could not speak the language, and fell in love with a local girl and lived together and learned the language there. This kind of nonsense love legend was actually made into a movie, but it was sued by Zhou Hexuan's descendants.