Full page photo

ALLS 7(4):95-112, 2016

96
 

In this sense, it is hoped that
As 
will be circulated in the literature of modern stylistics as a prolific term for the 
analysis of discoursal texts. 
As 
will also be applied to Kabbani's 
Maritime Poem
for the same aims. 
As
a stylistic 
paradigm, the study constitutes two main parts: part I deals with the notion of 
A
s in its interconnected circles, whereas 
part II concerns the stylistic analytical process of the Ode.
The linguistic patterns are fundamentally patterns of meaning; the whole linguistic quest in the twentieth century is the 
quest for meaning. Hence, it is no wonder to anticipate that the various interdisciplinary fields of linguistics take into 
consideration the production of meaning proper of the human mind. So, if semantics describes the meaning in sentence 
structure, and if pragmatics explores meaning in context, semiotics, then, hinges on meaning in culture context. These 
varieties of linguistic sciences deal with meaning potential from different stances. Needless to say that meaning is the 
cornerstone of philosophical, literary and aesthetic adventures in the history of ideas.
The new interest in the system of signs has paved the pathway to the emergence of a wide array of stylistic methods, 
approaches and theories which unravel the aesthetic aspects of literary style in various imaginatively creative works of 
art. The variety may result in the ambivalence of the stylistic modes of interpretation; this is simply because the notion 
of style stoops into the veins of different human sciences. Style has been related to linguistics, literature, philosophy, 
computation, statistics, translation, etc. In turn, the great interest of the theory of style in literary genres may result in 
different stylistic methods, e.g., 
Poetic stylistics
, 
Narrative stylistics
, etc. The rapid review of the stylistic 
interrelatedness to other human scientific fields may sustain us to specify the following stylistic trends. 
i.
 Emotional stylistics
. The Swiss linguist Charles Bally (1865-1947), an exponent of Geneva School, was considered 
the founder of modern linguistic theory of style. He developed what has come to be referred to as 
Emotional stylistics 
or 
Expressive emotional stylistics
. For Bally, the function of language is not only to transmit meaning but emotion as well. 
So, instead of the accentuation of the history, culture, and biography discourses in their linkage to the literary artifact, 
Bally stresses the emotional factors in spoken utterances and their significance in shaping the speaker's language. As 
early as 1909, in his 
Traite' de stylistique
, Bally attempted to study certain expressive types of language, such as the 
order ( Nerlich and Clarke, 1996:271). While studying the order, he realized three metafunctions of language: the 
intellectual, affective and social functions of language, which manifest themselves in different styles of discourse, in a 
different vocabulary, syntax and in spoken language in a different intonation. These are all different expressive or 
stylistic resources of language at the disposal of the speaker"(ibid). Plainly, The main concern of the Swiss stylistician 
is language as a human expression of feeling and action. The language of the speaker produces man's emotional traits 
throughout that networking of linguistic options. Bally, in a sense, is preoccupied with parole rather than langue. 
Stylistics, to Bally (quoted in Taylor, 1980:23), "studies the elements of a language organized from the points of view 
of their affective content; that is, the expression of emotion by language as well as the effect of language on the 
emotions." Bally's main concern, however, is the language of ordinary people. In his (1919) book Bally's main concern 
is the study of the spoken language or, more precisely, the ordinary language;" the language of 
ordinary people
which 
reflects not pure ideas but emotions, feelings, wills; impulses, in short: the language of 
ordinary people
as an instrument 
of expression and action"(ibid). Expressivity and emotionalism are the main dimensions of 
Expressive emotional 
stylistics
; but by drawing heavily on the emotional factor in one's individual style Bally emphasizes the structural 
concept of the individuality of the literary text with entire ignorance to the various human discourses surrounding it. In 
addition, the psyche of the speaker is not the only domain of the literary text: the " creative principle which may have 
present in the soul of the artist," in Bally's phrase (ibid), is not the only principle that operates powerfully in the texture 
of the text. However, it is not plausible to comprehend Bally's focus on the psychological dimension(s) in spoken 
language or the 
language of ordinary people
without understanding the cultural setting in which this conceptual 
paradigm is germinated. The Structural movement, in its early flourish in the last decade of the nineteenth century and 
the early of the twentieth century, witnessed a deep interest in the study of the languages and cultures of the native 
people in America on the side of American linguists like Franz Boas(1858-1942), and Edward Sapir(1884-1939). Not 
only that, those decades witnessed the rise of the psychological studies that were tied up to the system of signs. This 
interfusion of the two disciplines of psychology and linguistics resulted in the birth of the hybrid term 
Psycholinguistics.
So, while the traditional European linguistics had insight into language as a mental system ( langue), 
the American structuralism paid much attention to the actual act of speech (parole). Within this scope, we may perceive 
Bally's notion of emotionalism in style.
ii.
Literary stylistics
. Bally's main interest in the spoken language led to a new interest in the verbal signs of the literary 
genres. Inspired by the structural view of structure as one whole, modern schools and circles of linguistics and 
literature, i.e., Moscow Circle, with its developmental form, Neo-Criticism in the United States, and Prague Linguistic 
Circle or the classical European functionalism, circulated various stylistic approaches under the rubric of
Literary 
stylistics
(sometimes called 
Critical stylistics
). So, 
style
is looked at as choice, as coherence or as deviation. Such 
conceptualization is not without relevance to the language philosophy of structuralism which stresses the presumption 
that the text is "an independent and self-sufficient verbal object."(Taylor, 1981:11), but as with Bally, without
relevance to other discourses of history, culture, economics or politics. Being central to the stylistic work, the language 
of literature is explored not only in its structure, but also in its function(s). The aesthetic function in the literary work of 
art has become the ultimate value on the scale of hierarchical values; this is the domain of poetics in the formalist 
linguistic and stylistic trends in the onset of the twentieth century. Poetics is the most revealing term that exercised a 
profound influence on style and stylistic analysis. Investigating the formal feature of a literary work of art is the 
ultimate goal of the inquiry- the center of the formalist quest is the text itself. Henceforth, the intuitive impulse is 
replaced by the scientific scrutiny. As for the language function, the formalist pronouncement has been interlinked to 

---