COGNITIVE AND DISCURSIVE CHARACTERISTICS OF THE DRAMATURGIC TEXT

Abstract

The analysis of elements within the communicative and cognitive framework of the «Threepenny Opera» by Bertolt Brecht allows to reveal cognitive and discursive characteristics of the dramaturgic text, learn the features of its communicative and cognitive structure and determine the dominant concept in the author’s personal view of the world. The research is centered on determining the specifics of their conceptualization on the lexical level, grounding their cognitive interaction and interconditionality. Addressing this issue is predetermined, on the one side, by the general tendency of the modern linguopoetics to study the semantics of the literary text within the framework of cognitive and discursive approach, and on the other side, – by appreciating the dramaturgic discourse as an accomplished model, and its interpretative potential as an open modeling process. The research showed that, by selecting specific images and words, which generate and stimulate the literary associations, the author destroyed an illusion of the consistent event pattern, obstructing the reader’s/viewer’s immersion in the observation process. It was in the text of the «Threepenny Opera» that Brecht first portrayed characters, declaring on different levels – a level, accessible to the hero’s conscience, and a level, depicting the author’s worldview.