Abstract

The current study aims at stylistic analysis of the novel The Reluctant Fundamentalist by

Mohsin Hamid. Stylistics is a study of the consolidation of form with content. The stylistic

exploration of a novel goes outside the traditional, instinctive elucidation, because it conglomerates

intuition and thorough linguistic analysis of the text. The significant features of modern language are

within the text itself, not suggested from outside. In analyzing the text of the novel The Reluctant

fundamentalist Qualitative, analytical research design was employed for this study. Primary source

for data collection was novel The Reluctant Fundamentalist and the secondary sources were articles

and other books. The analysis was carried out following the checklist of linguistic and stylistic

categories presented by Leech and Short. The checklist provides a stylistic evaluation and offers four

levels for analyzing the linguistic choices made by the writer, in terms of style. These levels include

the lexical categories, grammatical categories, figures of speech and context and cohesion. The

current study of the novel was analyzed stylistically and focus was on observing the lexical and

phonological schemes employed by the writer. The study showed that the writer used more nouns as

compared to the word classes, i.e. adjectives, verbs and adverbs. In the case of figures of speech, the

writer uses parallelism as the major grammatical and lexical schemes. With regards to the

phonological schemes, consonance has been widely used creating a consonant sound in the end of the

sentence. In the use of tropes, almost all of the rhetorical devices like metaphor, simile, metonymy,

synecdoche, paradox and irony etc. have been used.

Key words: Stylistics, Mohsin Hamid, The Reluctant fundamentalist, Lexical category, Figures

of Speech
Chapter 1
Introduction

1.1 Background of the Study

Stylistics is a branch of general linguistics that deals with the linguistic and functional

resources of the language and that refers in particular to stylistic analysis. In a stylistic study,

linguistic elements are identified and analyzed as appearing in discourse. In fact, there are a lot

of definitions for stylists. For example, Leech defines the stylist as a Research focusing on the

use of language in literature asserts a "conference area for both linguistic and literary research,"

and stylistic examination. The principal aim of the stylistic research in him is the understanding

of an aesthetic use of language in literary texts with aesthetic elements such as oral narratives

and poetry. Apart from the definitions mentioned above on style, Leech and Short (1981:23) note

that "Literary stylistics is a new knowledge and a linguistic approach to literary works, compared

to many other studies. It applies current linguistic theories to literature studies and the critics'

concern is to be associated with aesthetic appreciation and readers' intuition with linguistic

concern.' Cureton describes that style or literary style concerns the aesthetic use of language in

traditionally aesthetic texts like canonical literature, oral narrative, jokes as well as in other

language texts with a dominant intent, such as conversation. As such, stylistics contributes to

literary discourse studies and, in other discourse diversities, to verbal texture. Stylistics mediates

linguistics and analysis between two disciplines. The processes and theories of it apply the

methods and insights Linguistics on conventional literary philosophical issues and techniques of

language research for literary critique. This is why some scholars such as Fowler tend to refer to

it as "linguistic critique."

Style can be defined as common contract of a catalogue by different people in a definite

recurrent position. Between language users social situation creates different styles and relations.
In this way style is a fragment of sociolinguistics-language pertaining to civilization. On the

group of speaker‟s language sociolinguists are indulged keeping in view the ethnic groups or

other separations. Stylistic structures are derived from less lengthy relations also and those

structures which relates to a speaker‟s job or leisure time only. However in a group each style is

adapted for communication either it is larger or short, tightly related or wide and those are

considered by the members of any group. Occasionally stylistics is named as lingo because it is a

branch of mutual linguistics as it associates with communicative resources and practical classes

of a language and also refers to stylistic study specially. Linguistic elements are recognized and

analyzed in stylistic as they appear in discourse. The main aim of stylistics is to deduce the

appealing usage of language in the texts that have aesthetic fundamentals such as oral

descriptions and poetry or describe the literary meaning of literature texts linguistically.

Stylistics in fact, is a part of linguistics that narrates the concept and process of current

linguistics to know about the style, it is a discipline through which different means of language

use can be studied. Through stylistics the style of any writer is studied systematically regarding

the manner or structures of language about different variations at linguistic features of different

varieties of language at diverse levels. We come to know how a reader uses the language of any

group in text in order to explain his view point to others. It is the up to date shape of old

disciplines which is known as “rhetoric” and it taught to the students how to build different

rational, and how to use the figures of speech appropriately and accurately and commonly how to

deliver a contrary speech or a chunk of writing so as to yield the maximum impact. Stylistics is

the study and explanation of texts from a linguistic standpoint.

Wales (2001) asserted that to write about the same theme each person has his own way to

perform an action or unfolding the same painting. She establishes that style can be different in
several situations and according to the level of decorum what she called "style shifting". Besides,

the genres of literature also vary in their style either fiction, poetry or any other type of literature.

She also declared that style can vary through time, for example, the style of modern and

metaphysical poetry is quite dissimilar.

Simpson (2004) stated that the expansion of stylistics was begun since the old age.

Among the scholars there have been a constant interest concerning the relation amid designs of

language in writing and the mean the text interconnects.

For instance, The Greek speakers had been using tropes and other strategies that other speakers

had been using for active dispute and inducement, in this way it could be stated that some of the

stylistic work is much up to date regarding habitual rhetoric.

Short (1996) declared that Stylistics involves related linguistic truths to meaning clear to

the possible extent, keeping in view either our linguistics knowledge of style and sense is

presumed. He further added that there should be enough explanation of the linguistic patterns

and it should be quantified to the maximum length.

Peck and Coyle (1993) argued that poetry was taken chiefly for the work of stylistic

analysis, for the reason that there are various short pieces of writings which are delightful enough

for complete treatment in the time of need. Moreover, poetry was taken for formal mechanical

work which was easy to construct. At that time phonetic and grammatical pattern were focused

and resultantly its results were applied to poetry easily.

Fish (1981) informed that partiality and impression of legendary readings were the chief

source of stylistics existence. He explained that stylisticians changed the typical and short

linguistics depictions for the zealous inclinations of unfocused opponent. And to explain the

degree of objectivity it should be sustained from the said depictions to further detailed
explanations. He concluded that the aim of the stylistics should be systematically critical.

Stylistics can be defined as the study of fictional address from a linguistic point of view

(Widdowson 1975). He explained that stylistics is the mean of distribution between literary

investigations in a way and the linguistic to the other way, it connects the both.

Carter (2010) indicated that stylistic can be analyzed by following a typical way, it is

helpful in understanding the different writings also it tells how in a particular writing language

works. Thus by using different oratorical strategies stylistics makes any language easy to

comprehend; it also informs how different truths have been described with in writing. The

analysis of stylistics also help in observing any specific piece of text from one‟s own analytical

point of view and thus one can give his own argument keeping in view the literary and

pretentious plans and also writers intentions in the text.

According to Verdonk (2002) stylistics is the investigation of diverse appearance in

language and the elucidation of its fortitude, effect.

Bradford (2013) declared the stylistics as a greasy topic which is very vast and wide

discipline of literary studies and its study will comprise the both style and stylistics.

Carter and Stockwell (2008) pointed out that linguistics can give readers a way of looking

at a text that comforts readers to develop a reliable and acceptable analysis, and impulses them to

ask different questions about the language of the text that they face when they come through the

text. Linguistics explains the wider discipline and stylistics is a part of it, it helps readers to

discover the concealed signs about the language.

1.2 Purpose of the Study

Purpose of the current study was to analyze the text of the novel The Reluctant

Fundamentalist by Mohsin Hamid. For this research, two categories namely lexical and figures
of speech were selected for stylistic analysis of the said novel. Though there might had been

conducted other researches on Mohsin Hamid‟s work on different topics, but the selected topic

for this research had not been taken by any researcher for the purpose of stylistic analysis. So,

keeping in view the research gap in this area, the researcher took this topic to analyze the text of

the novel effectively.

1.3 Objectives of the Study

There were following points for conducting this study:

1. To explore the lexical elements in the novel The Reluctant Fundamentalist

2. To find out the figures of speech in the novel The Reluctant Fundamentalist

3. To analyze the text of the novel stylistically and systematically

1.4 Research Questions

1. Have lexical categories been used appropriately in the novel The Reluctant

Fundamentalist?

2. How have the figures of speech been used aptly in the novel The Reluctant

Fundamentalist?

3. How has the writer used stylistic terms in the novel The Reluctant Fundamentalist?

1.5 Significance of Research

1. This research will be a new addition in stylistics to analyze the novel through different

factors.

2. The study will analyze whether or not this novel will be a source of up-to-date knowledge

regarding stylistics.

3. This study will be beneficial for students and prospective researchers in decoding a textual

content.
1.6 Limitations of the Study

Researchers cannot regulate limitations. Limitation is power. These are the limitations,

circumstances or factors that the researcher cannot manage, which limit the methodology and

conclusions. Current study was limited to all the novels of Mohsin Hamid to be analyzed, but as

it was not possible for researcher to make an analysis of all the novels of the writer therefore,

only one novel The Reluctant Fundamentalist was selected.

1.7 Delimitations of the Study

Researchers' choices are limits and should be listed. As it has been mentioned above that

the population for recent study was all the novels of the writer, but only one novel The Reluctant

Fundamentalist was taken as delimitation of this research. Lexical and phonological categories

from the novel were unearthed and analyzed accordingly.

1.8 Research Gap

1. A little research has been conducted on Mohsin Hamid‟s novels on Spiral of Fear and Silence

in Moth Smoke and The Reluctant Fundamentalist, but this research will highlight the figures

of speech and the lexical categories in stylistics which are still needed to work on.

2. Through this research writer‟s peculiar use of lexical and phonological categories will be

analyzed in depth so as to get insight of the novel.

Literature Review

2.1 Introduction

This chapter has reviewed the preceding researches on stylistics. In this chapter works of

earlier researchers have been mentioned. What methodology they have used and which devices

they have worked on and how they have analyzed figures of speech, lexical categories of the

textual contents of the novel. In this chapter theoretical frame work regarding style and stylistics

has been applied. In this research, the novel “The Reluctant Fundamentalist” has been analyzed

for figures of speech and lexical categories.

2.2 What is Style?

Whenever we express ourselves in a language, we adopt a style. According to the purpose

of the communication words are selected among the range of syntactic and word constructions.

The most explicit domain of style, and in many ways the most valued starting point for stylistics,

is the individual text or text abstract. According to the Swiss linguist Ferdinand de Saussure, the

concept of style is derived from the distinction made between langue and parole. He is of the

view that langue consists of rules communal to the users of a specific language i-e parole, on the

other hand, is the specific selections from the system that individuals make on any one event,

like the choice people adopt in conversation, official messages or legal procedure. In this way,

style relates with parole as this is principally the way a writer or speaker uses or selects his

words, phrases, and sentences to attain anticipated effect in any given context.

In its widest sense, both the written and spoken expressions have style; we have „literary‟

and everyday variations of language; but as it concerns this study, it is predominantly linked with

written literary texts. Style can be associated with the linguistic choices of a specific writer and
how an author uses language is used in a particular any form. We can talk about authorial style

which has a relation with his personality. Usually, the Latin dictum stilus virum arguit, clarifies

that every man has a distinct style whether he writes or speaks a language. Each author has a

peculiar linguistic aspect which distinguishes him/her from others individuals in whatever he or

she transcribes.

Furthermore, in order to have the clarity of something the particular study of style is

arranged and in common linguistic stylistics has covertly or clearly, for the purpose of defining

the relationship between language and creative purpose. Mostly repeated question is not there as

why and how. In the view of a linguist it explains why does a writer select this source of

expression? And how an appealing consequence can be conquered through language? Since style

is a social concept, we narrate the critic‟s apprehension of aesthetic gratitude with the linguist‟s

challenge of philological explanation. The term „appreciation‟ is used to arrest both important

evaluation and explanation, although it is with rationalization that stylistics is more unswervingly

concerned.

Some linguists like Spitzer (2015) defined that the chief task of language literary

clarification should be continued in the form of a movement from language information to

mythical center of a work or author‟s skill. There is a type of recurrent symbol where language

reflection stimulates or regulates legendary vision, and where literary insight in its turn inspires

additional linguistic assumption.

Fowler (2016) reported that style is a property of all texts, not just storybook – may be

said to exist in in the operation of variables in the construction of a language, or in collection of

elective or dormant structures.

Abrams and Harpham (2009) expressed that in rhyme, style is the method of language
appearance.

Leech & Short (2013) shortened the use of the term style thus:

a) Style is the skill of using language i.e. parole rather than langue.

b) Style contains in collection of selections from the treatment of the language.

c) A style can be explained as a territory of language use.

Ellis (1995) proclaimed that style is not always just an obscure clean medium, not

merely a clothing of thought but the thought itself. He contemplates it as a brilliant expression of

spirit imaginable in no other way. Henry Fielding opines that no branch of grievance gets to

know as well as good sense is greater required than to forming a correct judgment of style. The

reader is always extra prepared to contemplate his decision. So, Ellis‟s statement is very

subjective and personal. Fielding‟s statement on style proposes a want for precise judgment of

the phenomenon and this aspect looks forward to and antedates linguistic conduct of the subject.

2.3 What is Stylistics?

In many ways, stylistics is an expansion of the classical study of oratory or rhetoric. It has

its derivation to the works of European and American Structuralists, Philologists, Formalists,

Semanticists and new critics like I.A Richards, T.S Elliot, Roman Jakobson, Charles Bally, Leo

Spitzer, and others. With the publication in 1909 interest in the field of stylistics really began of

a work on French stylistics titled Traite de Stylistique Francaise by the linguist Charles Bally, a

pupil of Ferdinand de Saussure. Bally‟s work had suggested stylistics as a divergent academic

discipline to supplement Saussure‟s linguistics. Taylor (1992) reported that the language of an

individual‟s personal expression cannot be describes comprehensively through Saussure‟s

linguistics.

Stylistics may be viewed as a rational expansion of movements inside fictional

Nineteenth-century literary criticism concentrated the author, and in Britain, the text-based

criticism of the 2 critics I.A. Richards and William Empson, his pupil banned that method that

allows you to distillate on the literary texts themselves, and how readers were stricken by those

texts.

Wales (2014) opined that Bally‟s approach tailored properly with the objectives of the

Prague School. Contemplating the thoughts of the Russian Formalists, the Prague School was of

the view that the notions of foregrounding, wherein poetic language differs significantly from the

historical past of non-literary language by means of parallelism.

The view of forefront principle submits that some parts of texts had more influence on

readers than others in terms of clarification and simplification, because the textual elements are

linguistically special or in particular patterned in some way, for that reason making them

psychologically placing for readers. Gradually different European linguists were drawn to the

stylistics concern and in the following decades, its impact spread. In1960s, it penetrated

American and British universities, largely as a result of boom in descriptive linguistics, and the

obvious shortcomings of conventional literary criticism. Since 1950, the expression „stylistics‟

has been used for the crucial approaches, it was changed regarding prejudice and imprint of a

particular reading with a practical or unbiased appraisal of the style of fictional writings.

He further added that for years chief property of stylistics has been the reasons for

selection of particular style, the kind of inquiry and differences. In a language a view can be

discussed as a whole method which depends on connotations linked with the use of certain

vocabulary or the expected results. In this sense, stylistics has its association with the inquiry of

semantics, grammar, words, as well as wit sound features and lengthy strategies.