Teaching the stylistic peculiarities of

 
 
11. 
7
Kusnadi, Edi.2008. Metodologi Penelitian, Jakarta: Ramayana Pers. 
12. Rahim, Farida. 2006. Pengajaran Membaca di Sekolah Dasar, Jakarta: Bumi Aksara. 

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CONCLUSION 
The ending is usually closed (in the sense of completeness) and belongs to 
the type of "happy endings". But at the same time, a sad or elegiac intonation is 
hidden in the subtext, giving a philosophical character to the narrative. 
Any cognition presupposes the identification of specific, structural features 
of the cognized phenomenon. But this detection is simply impossible if the 
researcher is inside the object. Yu. Lotman notes that "a system described 
immanently cannot have specifics." To make it clear. one must go beyond the 
phenomenon and compare it with other systems. As G.K. Kosikov: ―Cognition 
requires a cognitive context, and the more it is wide, the more comparisons and 
contrasts we can include the works under study, the deeper, more versatile we will 
be able to know it. This means that any act of humanitarian cognition is essentially 
a two-pronged act, which, along with maximum empathy for the object, also 
implies the same maximum removal from it, value-based distancing‖. 
Considering Maugham's theories in the context of different approaches to 
the genre of the novel in the first half of the 20th century helps to see how new 
concepts were formed and what happened to traditional schools. We can trace 
which theoretical problems of literary criticism have become relevant and why. 
In his aesthetics, Maugham continues the best traditions of the psychological 
school, enriching them with the latest teachings and attention to literary technique. 
In artistic creativity, he develops the achievements of realism of the 18th and 19th 
centuries, giving them a new unique sound. 
Disputes about the forms of the novel at the beginning of the 20th century in 
Great Britain were by no means narrowly professional, it was a discussion of the 
further fate of European culture on the threshold of a new century. Maugham 
defended in her the best that could be destroyed, and that was worthy of protection. 
There are no impersonal theories in literary criticism. Therefore, we believe 
that it is much more promising to consider not some particular problem and its 
solution in the science of literature, but someone else's system as a whole. There is 
the poetics of Aristotle and the poetics of Boileau, the theory of romantic theory by 

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F. Schlegel and Brecht's "epic theater", the concept of "fantasy and imagination" 
by T.S. Coleridge and E. Poe's theory of the detective genre, etc. In each of these 
artistic systems, we see not only principles, but also a personality, a unique 
authorial principle. 
The same can be said about the aesthetics of Somerset Maugham, which 
combines the traditional and the innovative and is colored by a personal perception 
of life, man and art. 
Comparing Maugham's concepts with the theories of his contemporaries and 
compatriots - G. James, V. Wolf, J. Galsworthy, T.S. Eliot, we have the 
opportunity to trace how the science of literature develops, how complex and 
diverse the dialectic of the particular and the general, the archaic and the modern, 
the philosophical and the aesthetic is in it.