STYLISTICS

Aymen Rehmani: 124

Topic: Types of Stylistics ll Kashaf Murtaza: 142
Nimrah Waseem: 152
Assigned by: Ma’am Iqra Uswa Shahid: 172
Shabbir Sara Nafees: 166
Khadija Nazir: 140
Submitted by: Group 4 Ayesha Rubab: 127
Types of stylistics ll

 Stylistics has become so vibrant a field of study that it has drawn insights from a number
of disciplines or fields. Each of these disciplines has its own approach to the study of style
in texts.
 A situation such as this has brought about various types of stylistics. Thus, it becomes
possible for a stylisticianto do a thorough stylistic examination of a text by adopting any of
the various approaches at his or her disposal.
Types

• Reader response Stylistics

• Affective Stylistics
• Pragmatic Stylistics
• Pedagogical Stylistics
• Forensic Stylistics
Reader Response Stylistics

 When we refer to something as “subjective” we pertains to the individual (the reader). A

subjective reading text is one in which emphasis is place on the attitudes, moods, and
opinions of the reader.
 When we refer to something as “objective” we mean that it pertains to an object “the text”
separate from the individual “the reader”. An objective reading of a text is one that is
uninfluenced by emotions or personal prejudices.
 READER- RESPONSE CRITICISM offers a SUBJECTIVE, or egocentric reading of a
text. Egocentrism refers to anything that regards the self of the individual as center of all
things.
 Reader response critics believe that a reader’s interaction with the text gives the text it’s meaning. The text
cannot be exist without the reader.
Example
Here’s an example using a passage from Jane Austen’s “Pride and Prejudice”:
Text
“ It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in
want of a wife.”
Reader response stylistics may involve exploring how different readers interpret this iconic opening line.
Some might perceive it as satirical, highlighting society’s expectations of marriage. Others might find it
indicative of the societal pressures faced by both men and women in that era, stirring empathy or even
frustration. Personal experiences, cultural backgrounds, and beliefs greatly influence how readers engage
with and interpret a text, thus affecting their response to its nuances and them.
WHAT IS READER-RESPONSE?

Reader- response criticism is NOT a free-for-all school of thought where anything goes.
Reader- response criticism is still a disciplined theory deserving of a careful reading of the
text.
Reader- response critics are focused on finding meaning in the act of reading itself and
examining the ways individual readers or communities of readers experience texts.
The reader joins with the author to “help the text mean”
A successful reader-response critic does not just respond to the text- anyone can do that- but
analyzes his or her response, or the responses of others.
 Because each reader will interact with the text differently, the text may have more than one
valid interpretation.
READER’S-RESPONSE STYLISTICS

According to Jonathan Culler(1981), Reader’s Response examines the reader’s response to

a text as a response to a horizon of expectations. By horizon of expectation, is meant that there
is multiplicity of meanings of interpretations in the text and these can be accessed by the
reader according to his or her level or literary competence.
 In Reader’s Response, there is an interaction between the structure of the text and the
reader’s response. It evokes a situation where individual readers give meaning to the text.
This is because each reader will interact with the text differently, as the text may have
more than one vivid interpretation.
Reader’s Response theorists share two beliefs.
The role of the reader cannot be omitted from our understanding of literature (unlike
new Critics/Formalism who believe that the meaning of a text is contained in the text
alone).
• Readers do not passively consume the meaning presented to them by an objective literary
text. Instead, readers actively make the meaning they find in literature.
Affective stylistics

Affective stylistics is derived From analyzing further the notion That a literary text is an event
that Occurs in time—that comes into Being as it is read—rather than an Object that exists in
space.
The text is examined closely, Often line by line or even word By word, in order to understand
How (stylistics) it affects (affective) the reader in the Process of reading.
 Although there is thus a great deal of Focus on the text, which is why some Theorists
consider this approach transactional In nature, many practitioners of affective Stylistics do
not consider the text an Objective, autonomous entity—it does not Have a fixed meaning
independent of Readers—because the text consists of the Results it produces, and those
results occur Within the reader.
 For example, when Stanley Fish Describes how a text is structured, the Structure he describes is the structure
of The reader’s response as it occurs from Moment to moment, not the structure of The text as we might
assemble it—like Puzzle pieces all spread out at once Before us—after we’ve finished Reading.
Indeed, it is the “slow-Motion,” phrase-by-phrase Analysis of how the text
Structures the reader’s Response for which affective Stylistics is perhaps best-known.
 That Judas perished by hanging himself, there is No certainty in Scripture: though in one place it Seems to
affirm it, and by a doubtful word hath Given occasion to translate it; yet in another Place, in a more punctual
description, it make it Improbable, and seems to overthrow it.(“Literature” 71)
 According to Fish, the question “What does this sentence Mean?” or “What does this sentence say?” yields
little because the Sentence provides us with no facts with which we could answer the Question. Even if we
notice that the sentence does say something—it Says that Scripture gives us no clear indication of whether or
not Judas Hanged himself—his point is that the sentence tells us only that it is Unable to tell us anything. In
contrast, he notes, the question “What Does the sentence do to the reader?” or “How does the reader of this
Sentence make meaning?” yields something quite useful. What this Passage about Judas does, Fish notes, is
move the reader from certainty To uncertainty. The first clause, “that Judas perished by hanging
Himself”(which, as most of us know, is a kind of shorthand for “the fact That Judas perished by hanging
himself”), is an assertion we accept as Statement of fact.
Fish offers these three examples of the kinds of
 Endings the first clause leads us to expect.
 1. That Judas perished by hanging himself is (an example for us all).
 2. That Judas perished by hanging himself shows (how conscious he Was of the enormity of his sin).
3. That Judas perished by hanging himself should (give us pause). (“Literature” 71)
These expectations narrow the possible meanings of the next three
Words in the passage: “there is no.” At this point, the reader expects to see “there is no doubt,” but is given
instead “there is no certainty.
 Now the fact of Judas’ hanging himself, upon which our understanding Of the sentence has rested,
becomes uncertain. Now the reader is involved in a Completely different kind of activity. As Fish puts
it” Rather than following an Argument along a well-lighted path (alight, after all, has gone out), [the
reader] Is now looking for one” (“Literature”71). In such a situation, the reader will Tend to read on in
hopes of finding clarification. But as we continue to read the Passage, our uncertainty only increases as we
move back and forth between Words that seem to promise clarity—“place, ”“affirm,” “place,” “punctual,
”overthrow”—and words that seem to with draw that promise: “though, ”doubtful,” “yet,”
“improbable,” “seems.” Uncertainty is further increased by The excessive use of the pronoun It because, as
the sentence progresses, the Reader has more and more difficulty figuring out what it refers to.
In addition to an analysis of the reading activities that structure The reader’s response, other
kinds of evidence are usually gathered to Further support the claim that the text is about the
experience of reading.
 For example, most practitioners of affective stylistics will cite the Responses of other
readers—of other literary critics, for example—to Show that their own analyses of the
reading activities provided by a Particular text are valid for readers other than just them-
selves. A critic Might even cite an extreme divergence of critical opinion about the text To
support, for example, the contention that the text provides an Unsettling, decentering, or
confusing reading experience. This wouldn’t Mean that the text is flawed but that by
unsettling the reader it Demonstrates, say, the fact that interpretation of written texts, and
Perhaps of the world, is a problematic endeavor from which we should Not expect to
achieve certainty.
Pragmatic Stylistics

Pragmatic stylistics is a branch of linguistics that examines how language use, including style,
is influenced by context, purpose, and audience. It combines elements of pragmatics (the study
of language in use) with stylistics (the analysis of literary and non-literary texts) to explore
how linguistic choices convey meaning and serve communicative functions in different
contexts.
This field investigates how speakers or writers use language creatively and strategically to
achieve specific goals, considering factors such as social, cultural, and situational contexts.
Example

• In George Orwell’s novel “1984,” the protagonist Winston Smith engages in a clandestine
affair with Julia. A notable example of pragmatic stylistics occurs when Winston and Julia
discuss their rebellion against the oppressive regime of Big Brother. They intentionally use
coded language and euphemisms to convey their true intentions while avoiding detection by
the authorities. For instance, they use phrases like “the Brotherhood” to refer to their secret
resistance group, employing pragmatic strategies to communicate their dissent without overtly
stating it. This stylistic choice demonstrates how language is adapted and manipulated to
convey hidden meanings within a specific context.
•. In Jane Austen’s “Pride and Prejudice,” the character of Mr. Bennet demonstrates pragmatic stylistics in
his witty and ironic remarks. When discussing his daughters or interacting with others, Mr. Bennet often uses
sarcasm and subtle humor to convey his opinions or critique societal norms. For instance, his remark about Mr.
Collins, a pompous suitor for his daughter’s hand in marriage, showcases this stylistic choice: “I am not to be
intimidated into anything so wholly unreasonable. Your ladyship wants Mr. Bennet to marry your
daughter; but would my giving you the wished-for promise make their marriage at all more probable?
Supposing him to be attached to me, would my refusing to accept his hand make him wish to bestow it on
his cousin?” Here, Mr. Bennet employs sarcasm and irony to convey his skepticism about the absurdity of the
situation while maintaining a polite façade, showcasing how pragmatic stylistics can be used to convey subtle
criticism or skepticism in a social context.
Certainly! In the prologue of “The Canterbury Tales,” Chaucer uses pragmatic stylistics by portraying the
characters’ speech and actions to reveal their social status and intentions. One example is when the narrator
describes the prioress, Madame Eglentyne. He notes her refined manners, which reflect her desire to appear
genteel and sophisticated: “At mete wel y-taught was she withalle; / She leet no morsel from hir lippes falle,
/ Ne wette hir fyngres in hir sauce depe.” (Lines 123-125)
 Through the detailed description of the prioress’s table manners, Chaucer showcases her attempts to
conform to societal norms and etiquette, highlighting her aspirations to belong to a higher social
stratum. This pragmatic use of language helps to characterize and distinguish the different pilgrims
based on their behaviors and social standings.
Forensic stylistics

Forensic stylistics is a branch of forensic linguistics that focuses on analyzing linguistic

features in written texts to aid in legal investigations. It involves examining the style,
vocabulary, grammar, punctuation, and other linguistic elements to identify patterns,
authorship, or the origins of a text. This field is used in cases involving disputed authorship,
plagiarism, threat analysis, and anonymous communication.
 Forensic stylistics employs various techniques such as stylometry, which uses statistical
analysis to determine writing style by measuring and comparing features like word choice,
sentence structure, and frequency of certain linguistic elements. It also involves examining
syntax, idiosyncrasies, lexical preferences, and writing habits to create linguistic profiles or
link texts to potential authors.
In legal contexts, forensic stylistics can be used to determine authorship authenticity, identify multiple authors
in collaborative writing, detect forgeries, or uncover hidden messages within texts. However, it’s important to
note that while forensic stylistics can provide valuable insights, it’s not always conclusive and is often used
alongside other forensic methods for a more comprehensive analysis in legal investigations.

Example:
In Alexander Pope’s “The Rape of the Lock,” forensic stylistics, which involves analyzing linguistic features
to attribute authorship or identify patterns, can be seen in various ways. One example is the use of Pope’s
distinctive satirical tone and mock-heroic style throughout the poem. This can be observed in Canto I, where
Belinda’s preparation for the day is described with exaggerated grandeur, highlighting the triviality of her
actions. The forensic stylistic analysis would involve examining Pope’s consistent use of exaggerated
descriptions and witty language to satirize the society and its values.
Another example of forensic stylistics in “The Rape of the Lock” involves the use of heroic
couplets. Pope utilizes this particular form of iambic pentameter throughout the poem,
maintaining a consistent rhythm and rhyme scheme. For instance, in Canto II, when Belinda
prepares for the card game, Pope employs this structured verse form to create a sense of
formality and mock-heroism, which adds to the satirical nature of the poem. The consistent use
of heroic couplets showcases Pope’s deliberate stylistic choice, contributing to the overall
forensic analysis of his distinct writing style.
 Forensic stylistics involves analyzing the linguistic features of a text to identify patterns or
characteristics that can reveal aspects of authorship, intent, or context.
In the passage below, Austen’s use of indirect speech and refined vocabulary characterizes the dialogue and
social class of the characters:
“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want
of a wife.”
This iconic opening line from “Pride and Prejudice” demonstrates Austen’s style through its formal and
satirical tone, indicating her focus on the societal norms of marriage and wealth during the time the novel was
written
 Forensic stylistics might analyze the use of certain phrases, vocabulary choices, sentence structure, and the
overall tone to draw conclusions about the author’s intention or to identify patterns unique to the author’s
style within the text.
Pedagogical stylistics

 Pedagogical stylistics is a field that combines the study of linguistics and literary analysis
to teach language and literature effectively. It focuses on how to teach language and
literature by examining stylistic features such as language use, literary devices, and textual
analysis to enhance students’ understanding and appreciation of written texts. This
approach helps educators develop strategies to teach language and literature in engaging
and insightful ways, emphasizing both the linguistic and aesthetic aspects of texts to
facilitate learning.
Example

 Pedagogical stylistics combines the study of literature with teaching methods. Here are a
few examples with textual references:
 Character analysis through language:
In To Kill a Mockingbird by Harper Lee, the character of Atticus Finch is revealed through
his language and speech patterns. His wise and measured speech, exemplified in his advice to
Scout, “You never really understand a person until you consider things from his point of
view,” showcases his depth of character and moral compass.
Teaching poetic devices:
In Emily Dickinson’s poem “Because I could not stop for Death,” the use of personification
(“Death kindly stopped for me”) and imagery (“We passed the school, where children
strove / At recess, in the ring”) can be used to teach students about these poetic devices and
their impact on the reader.
Exploring narrative techniques:
In Gabriel Garcia Marquez’s One Hundred Years of Solitude, the use of magical realism
blurs the lines between reality and fantasy. This can serve as a way to teach students about
narrative techniques and the impact of unconventional storytelling on the reader’s
interpretation.
Studying authorial intent through stylistic choices: In George Orwell’s 1984, the deliberate
use of a bleak and oppressive tone in the descriptions of the totalitarian society helps students
understand Orwell’s intent to critique authoritarianism and the dangers of unchecked
government power.