الفهرس 
Chapter OneOnly 14 pages are availabe for public view
 |  | from | 170 |  |  |
| | | from | 170 | | |
Abstract
This dissertation aims at studying the cognitive linguistic perspectives of the thoughts of Tennessee Williams’ A Streetcar Named Desire and William Faulkner’s The Sound and the Fury. It explores how far our conceptual system results from the kind of beings we are and the way we interrelate with our physical and cultural environments. In this work, different types of conceptual metaphors, metaphorical mappings, and image schema are discussed. The present study seeks to explore how these conceptual metaphors help to enrich the meaning of the two literary works. It also conducts a cognitive interpretation of different conceptual metonymies to show the interplay of the mind, language, and experience among the characters of the two works. Some conceptual metonymies are illustrated through the analysis of the two works. Conceptualization involves imagery in the broadest sense of the word; a way of making sense and imposing meaning. The conceptualizations that are expressed in natural language have an experiential basis where they link up with the way in which human beings experience reality, both culturally and physiologically. In A Streetcar Named Desire, the conceptualization of motion and the conceptualization of the Subject and the Object are analyzed. In The Sound and the Fury, the conceptualization of space and time is discussed to show the importance of Path Schema in conceptualizing space. Categorization means the cognitive process of pattern recognition in our everyday interaction with the environment. Mental space theory as a cognitive process of meaning construction is presented. The Access Principle is applied to A Streetcar Named Desire. The Tense-Aspect System is analyzed in The Sound and the Fury. The study concludes that the two authors employ conceptual metaphors, conceptual metonymies, conceptualization, the prototype theory, and mental spaces in a way that enriches their meanings and themes. They really make use of these creative modes when dealing with issues of life, death, journey, time, and so on.