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Literary Stylistics LITERARY STYLISTICS: PEDAGOGICAL PERSPECTIVES IN AN EFL CONTEXT By HASAN GHAZALAH 014, $ý Thesis submitted for the degree of Doctor of Philosophy University of Nottingham May, 1987 CONTENTS' Bags ABSTRACT xiii DEDICATION xvi ACKNOWLEDGEMENTS xvii 1 ..'CHAPTER ONE: STYLISTICS AND ITS PLACE IN LITERARY STUDIES - Prefatory 1 Literary Text and the Element of Literariness 3 1. Function as the Literary Element 4 i. l. Ontology as the Literary Element 5 1.1 Subject Matter as the Literary Element 6 X1.1. Quality as the Literary Element 7 I. 1. Linguistic Form as the Literary Element 7 1.1.6 Alternative Suggestions 8 1.1. Functional Stylistic View of Literariness 10 in Literary Criticism 13 .2 Literary text Traditional ý1.3 Literary Critics' Approach to Literary Text 15 (Practical Critics' Approach to Literary Text 17 he Objectives of Traditional Criticism 19 1.16)The New Criticism and the Verbal Icon 22 1.7 Formalism and De-automat. jßat-ion 23 8 Stylistic Deviation and the Problems of Norms 25 - Introduction 25 1.8.1 The Notion of Stylistic Deviation 26 1.8.2 The Problem of Norms 28 1.8.3 The Indispensability of the Norm of Language 29 1.8.4 Deviation and the Non-native Students 30 1.9 The Concept of Style 35 i - Introduction 35 1.9.1 Style as, the Moulding of the Message 35 1.9.2 Style as Deviation 38 1.9.3 Style as the Man 38 1.9.4 Style as Indistinguishable From Meaning 39 1.9.5 Style as 'the Emperor's Clothes' 40 1.9.6 Style as Choice : Functionalistic Approach 41 1.10 Stylistics, Linguistic or Literary? 43 - Introduction 43 I Linguistic Stylistics 43 (. 10: 1.1 Contemporary Linguistic Stylistics 44 1.10.1.2 Linguistic Stylistics and Objectivity 45 . 10.1.3 Merits and Demerits 46 { 1.10: 2 Literary Stylistics 49 - Definitions and Boundaries 49 (10.. 2 'l The Balance Between Linguistic andd Literary Aspects 50 1.10.2.2 Literary Stylistics vs. Linguistic Stylistics 51 1.10.3 Literary Stylistic Analysis and Interpretation 51 1.10.3.1 Linguistic Patterning and Stylistic Patterning 52 1.10.3.2 Stylistic Device and Stylistic Function 53 1.10.3,3 Literary Stylistic Interpretation 54 1.10.4 Stylistic Intuition 58 1.10.4.1 Intuition as the Criterion of Stylistic Analysis 60 1.11 Interpretation is Still the Proper Objective 61 1.11.1 Sontag's Against Interpretation 62 1.11.2 Other Alternatives 63 1.11.3 Stanley Fish's Affective Stylistics 65 1.12 Stylistic Analysis of The Structure of The Layout and ii of the Lexical Choice: A Model of Analysis 69 - Definitions and Dimensions 69 Notes 73 CHAPTER TWO: STYLISTIC ANALYSIS OF THE LAYOUT OF THE SISTERS 77 - Introduction 77 2.1 Intuitive Response to The Sisters 80 2.1.1 Recessional Development and the Concept of the Phases of Narrative 81 2.2 Stylistic Analysis of the Clause and Sentence Structure of The Sisters 87 2.2.1 Phase One 91 2.2.1.1 Indecisive Start 91 2.2.1.2 Elaborate Uneven Structuring: Death Underlined 92 2.2.1.3 Clause Sequence Deflected: Paralysis Underscored 93 2.2.1.4 Separate Sentence for Emphasising Paralysis Again 94 2.2.2 Phase Two 94 2.2.2.1 Limping Clauses and Sentences 94 2.2.2.2 Sentences Shrunk and Few: Boy Inactive 96 2.2.2.3 Broken Sentences: Broken Positivity 97 2.2.3 Phase Three 98 2.2.3.1 Clause and Sentence Structure: Easy to Follow, Hard to Swallow 98 2.2.4 Phase Four 100 2.2.4.1 Unfulfilled Wish Fronted 100 2.2.4.2 Symptoms of Paralysis Accentuated 100 2.2.4.3 Syntactic Structure Broken Down as the Paralysed Breaks Down 101 2.2.4.4 Change of Mood: Change of Structure 103 2.2.4.5 Elaborative Amplification Of Subject Element 104 iii " 2.2.4.6 Left-branch: Further Change of Mood 104 2.2.4.7 Disorderly Structuring of Disorderly Dream 105 2.2.5 Phase Five 105 2.2.5.1 Misplaced 'Poetic Style' 105 2.2.5.2 Sentences Compressed Again 106 2.2.6 Phase Six 107 2.2.6.1 Sentences Truncated: People Emasculated 107 2.2.6.2 Broken Grammar = Heart-broken Character 107 2.2.7 Conclusion 109 2.3 Stylistic Analysis of Paragraph Structure of The Sisters 110 - Abstract 110 2.3.1 Parag. 1: Circular Structuring Seconding Paralysis 113 2.3.2 Parag. 3: Tension Created: Battle Conceded to Paralysis 115 2.3.3 Parag. 4: A False Claim to the Unassuming 116 2.3.4 Parag. 5: The Theme of Monotony: Monotonous Structure 117 2.3.5 Parag. 7: Laconic but Functional 118 2.3.6 Parag. 9: Constituents in Disarray 118 2.3.7 Parag. 12: Paralysis: a Topic Ramified 119 2.3.8 Parag. 13: Structure and Chalice Broken: Paralysis Prevails 120 2.3.9 Conclusion 121 2.4 Stylistic Analysis of Cohesion in The Sisters 124 - Abstract 124 2.4.1 The Abstract Coheres with the Coi icrete (9) 126 2.4.2 From Nowhere 'it' (29) 127 2.4.3 The Face of the Paralytic: Hinge Emphasised (73-87) 128 2.4.4 'His' Replacing 'its': Attention Screwed (87) 128 2.4.5 A Break of Normality (88-101) 129 iv 2.4.6 The Normal Triggering and Cohering with the Paralytic (102-19) 130 2.4.7 Counterparts Cohere with one Another (121,125) 130 2.4.8 Recapitulating and Presaging Cohesive Link (158-64) 131 2.4.9 Reinforcing Cohesion (179-88) 131 2.4.10 Expectations of Hopelessness Realised (189-95) 132 2.4.11 Nothing Special When Nothing Spectacular (196-330) 133 2.4.12 Conclusion 133 CHAPTER THREE: STYLISTIC ANALYSIS_OF-LEXIS-0F-THE--SISTERS 135 3.1 Functionalistic Perspective of Lexis 135 3.2 Setting the Scene of Paralysis (1-16) 146 3.3 Demoralising Lexical Specification (21-73) 151 3.4 Extremes in Contention (74-87) 153 3.5 Domineering Subfield of Death Ensuring Paralysis. (102-19) 156 3.6' Paralysis Challenged (121-5) 157 3.7 The Paralytic Reflects Decadent Profession (126-57) 159 3.8 Phantasms Again: Polarisation Again (158-64) 161 3.9 Back into the Den of Paralysis and Gloominess (165-209) 162 3.10 Tantalisation Continued (210-96) 166 3.11 Chalice and Priest Broken: Salvation Betokened (279-330) 169 3.12 Lexical Abstraction of Gravitation 171 3.13 onclusion: Stylistic Interpretation f The Sisters 173 APPENDIX 1 175 V CHAPTER FOUR: STYLISTIC ANALYSIS OF THE LAYOUT OF Enough 181 - Prefatory 181 4.1 Intuitive Response to Enough 182 4.2 Stylistic Analysis of Clause and Sentence Structure of Enough 184 - Introduction 184 4.2.1 Infirmity 185 4.2.1.1 Disrupted Structure Accentuating Erasure 185 4.2.1.2 Identical Structure: Aspect of Infirmity 'Underlined 185 4.2.1.3 Decentralisation of Clauses: Dehumanisation of People 186 4.2.1.4 Elusive Reiteration 186 4.2.1.5 Staccato Sentences: Shortage of Action 187 4.2.1.6 Fractions Again: Inconsistency Again 187 4.2.1.7 Mid-branch Emphasising Aspect of Deficiency 188 4.2.1.8 Sentences Verbless/Subjectless: Movement Absent 188 4.2.1.9 Slices Underscored 188 4.2.1.10 Left-branch Underlining Infirmity 189 4.2.1.11 A Fraction Highlighted 189 4.2.1.12 Coordination Ratifying Paralysis 190 4.2.1.13 Peripheral Clause Separated: Infirmity Stressed 190 4.2.1.14 Dull Repetition: Dull Activity 190 4.2.1.15 Long Sentence Havocked Like the Old Man's Ruins 191 4.2.1.16 Inconclusivity Structure Recalled 192 4.2.1.17 Principal Clause Second: Frustration First 192 4.2.1.18 Stylistic Imprint, not Centralising of 'I' 193 4.2.1.19 Broken Sentences: Broken Hypotheses 194 4.2.1.20 More Ellipsis: More Stumbling and vi Mysteriousness 194 4.2.1.21 Conclusion 195 4.2.2 Acquiescence vs. Dominance 196 4.2.2.1 Decrepit and Elliptical Structure: Decrepit Character 196 4.2.2.2 Peripheral Clause Superior in Message and in Structure 197 4.2.2.3 Cleft Sentence Foregrounding the Master's Actions 197 4.2.2.4 Peripheral Clause Fronted: Character Submitted 198 4.2.2.5 Subjugation Reflected in Peripheral Clause's Centralisation 198 4.2.2.6 Normal Order When Talking Only about the Master 198 4.2.2.7 Grammatical Subordination Matching Thematic Subordination 199 4.2.2.8 The 'I' Clause in Front, But he is Wrong 199 4.2.2.9 Negative Structure in Normal Order 199 4.2.2.10 Sentences in Disarray: People in Disgrace 200 4.2.2.11 Conclusion 200 4.2.3 Passive' Activity 201 4.2.3.1 Sub. Clause Fronted: Gloominess Prior to Gleaminess 201 4.2.3.2 Normalised Structure Embracing De-spirited Gesture 201 4.2.3.3 Conclusion 202 4.2.4 Summary 202 4.3 Stylistic Analysis of Paragraph Structure of Enough 204 - Introduction 204 4.3.1 Paragraph One: Too Generalised. so Nothing Clarified 204 vii 4.3.2 Paragraph Twelve (106-8): Titillating Glimmer 205 4.3.3 The Final Paragraph: So Much for Sustenance: Viva Indolence 205 4.3.4 Conclusion, 206 4.4 Stylistic Analysis of Cohesion in Enough 207 4.4.1 Missed or Ambiguous Devices: Limp Context (1-7) 208 4.4.2 'He': Mysterious Reference Incurring Impairment (8) 208 4.4.3 Like 'He', 'I' Unidentified for it is Paralysed 208 4.4.4 Broken Bridge of Cohesion (28) 209 4.4.5 Disintegrated Cohesion: Disintegrated Statement (33-4) 210 4.4.6 Elliptical Connectivity Producing Ambiguity 211 4.4.7 Lack od Cohesion: Frustration of Expectations (61) 211 4.4.8 Cohesive 'Hiccups': People Fumble and Stumble 212 4.4.9 The Same Cohesive Hinge Says Different Things (128-37) 212 4.4.10 Confusing Reference Screwing Focus (138) 213 4.4.11 Segregative Hinge Isolating Scene of Disgrace (178) 213 4.4.12 Reiterations Connecting, Recalling and Reaffirming 214 4.4.13 Cohesive Device Deflecting Interpretation (102) 214 4.4.14 Flowers Recalled: Calm Underscored (228) 214 4.4.15 No Punctuation: A Lot of Ambiguity and Hesitation 215 4.4.16 Conclusion 216 4.5 Summary 216 CHAPTER FIVE: STYLISTIC ANALYSIS OF LEXIS OF ENOUGH 218 5.1 Negativity and Partitioning Recurrence (1-7) 218 5.2 Impulsive, Yet Passive Reiteration (8-19) 221 5.3 Adverse Winds (20-51) 222 5.4 Infirmity Standing out (68) 224 viii 5.5 Distraction, Rather than Distortion (89-98) .
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