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Full page photoA Road to Aesthetic StylisticsALLS 7(4):95-112, 2016
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Figure 1. Stylistic Interdisciplinary Conceptual Areas
Off course, this study is neither a comprehensive schema for all the stylistic mainstream activities that have emerged
during the twentieth century and later, nor a brief history of stylistic mainstream activities in their chronological eras.
What matters to this study is the stylistic products derived from the interrelatedness of style to the spectrum of human
sciences in the modern epoch. One point to be stressed, here, is that the developmental progression of human mind is
not a haphazard process, but a dialectical one: every phenomenon consists of opposing forces; when one force is
defeated by the exponent force, this epistemic process definitely leads to a constant change, and the history of dialects is
the history of human intellectual evolution, and necessarily the history of philosophy. The history of linguistics, to my
mind, is a sequence of cognitive transfers. One more point to be delineated, here, is that the ever-growing visions,
methods and findings of stylistics stress the fact that the ever-green stylistic tree has the capacity to generate new
insights in theory and practice.
2. Aesthetic stylistics: a new stylistic vision
A close reading of the above reviewed stylistic approaches has undoubtedly shown that none of these mainstream
activities has been interlinked to
Aesthetics
or
Philosophy of beauty
. Though the aesthetic value of a literary artifact, as
a deviant construction, has become the highest value on the scale of values in the language of literature, this value is not
yet explored from a purely philosophical stance. Language, culture and philosophy are the most revealing products of
human mind. If language is the system of interrelated options of symbols that transmits man's aesthetic experience and
aesthetic judgment, then, this experience is moulded in a given culture code. So, the inquiry that arises in the mind:
What is really
Aesthetic stylistics
?
In the odyssey of methods, approaches and theories of linguistics in the twentieth century, stylistics emerged as
orientation to investigate the imaginatively verbal works of art from a linguistic standpoint. Stylistics yet is not the
prerogative of literature domain; the intersection of style with other epistemic human fields has resulted in the rebirth of
hybrid sub-fields of stylistics. So, it is not strange to witness the marriage of stylistics and aesthetics.
Aesthetic stylistics
(henceforth
A
s) is a trend aiming at exploring the complex networking of language variations in a text in terms of
aesthesis, i.e., philosophy of beauty. The new approach consists of two main circles: the
linguistic description
and the
aesthetic interpretation
. The
linguistic description
is an account of the language variations encoded in the text. These
aspects of style might form a salient phenomenon; they might form a phenomenon of deviation, choice or frequency in
the text. The linguistic description cannot be accomplished without recourse to a specific linguistic theory or a linguistic
model as a definite theoretical grid. Any linguistic framework with clear-cut procedures is valid for descriptive analysis.
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