LN400 – Final Revision

Fall 22
 Contrastive Analysis of
Stylistic Deviations
1.Texts
2. Essay structure:
 Introduction
 Analysis
 Discussion & Conclusion
Brave New World (Huxley, 1932)
 Brave New World is a dystopian novel by English
author Aldous Huxley, written in 1931 and published
in 1932.[2] Largely set in a futuristic World State,
whose citizens are environmentally engineered into
an intelligence-based social hierarchy, the novel
anticipates huge scientific advancements
in reproductive technology, sleep-
learning, psychological manipulation and classical
conditioning that are combined to make a dystopian
society
 Brave New World is set in the year AF 632. AF stands
for “after Ford,” as Henry Ford’s assembly line is
revered as god-like; this era began when Ford
introduced his Model T. The novel examines a
futuristic society, called the World State where
emotions and individuality are conditioned out of
children at a young age, and there are no lasting
relationships because “every one belongs to every
one else” (a common World State dictum).
Brave New World (Huxley, 1932)
 Huxley begins the novel by thoroughly explaining
the scientific and compartmentalized nature of
this society, beginning at the
Central London Hatchery and Conditioning
Centre, where children are created outside the
womb and cloned using an artificial process
 The reader is then introduced to the class system
of this world, where citizens are sorted
as embryos to be of a certain class. The embryos,
which exist within tubes and incubators, are
provided with differing amounts of chemicals
and hormones in order to condition them into
predetermined classes.
Essay Structure
Introduction
 Stylistics
 The concept of foregrounding and its relevance to stylistic
deviation
 Types of deviations: (provide definitions / features)
✓ Quantitative (repetitions & parallelism)
✓ Qualitative: occurring at all language levels
Analysis

 Either in a table or paragraphs

 Text by text or feature by feature in both texts
Tips (What do you look for in the text)
 Quantitative Foregrounding
Repetition of exact words / phrases in close utterances
 Qualitative Foregrounding
Phonological Foregrounding
Repetition of sounds (consonants / vowels) = alliteration / consonance / assonance
Graphological Foregrounding
• Mis-spellings – unjustified capitalization / decapitalization / irregular use /lack of
punctuation marks (italics/ quotation marks / brackets….)
• Irregular paragraph structure
Tips (What do you look for in the text)
Morphological / lexical foregrounding
• Coining (creating) new words (specific to the text)
• Changing part of speech
• Changing the morphological structure of the word (irregular use of morphemes)

Semantic Foregrounding
• Figures of speech : metaphors, similes, hyperboles
• Paradoxes
• Irregular meanings / concepts
Tips (What do you look for in the text)
Graphological Foregrounding
• Using features / characteristics from other discourse
• Direct speech in narratives (recipes – letters ……)

Syntactic Foregrounding
• Fragments as complete units (Missing verbs / subjects/ incomplete sentences)
• Marked themes (irregular beginnings of sentences)
• Irregular word order
‘It’s one of the conditions of perfect health. That’s why we’ve made the
V.P.S. treatments compulsory.’
‘V.P.S.?’
‘Violent Passion Surrogate. Regularly once a month. We flood the whole
system with adrenin. It’s the complete physiological equivalent of fear and
rage. All the tonic effects of murdering Desdemona and being murdered by
Othello, without any of the inconveniences.’
‘But I like the inconveniences.’
‘We don’t,’ said the Controller. ‘We prefer to do things comfortably.’
‘But I don’t want comfort. I want God, I want poetry, I want real danger, I
want freedom, I want goodness. I want sin.’
‘In fact,’ said Mustapha Mond, ‘you’re claiming the right to be unhappy.’
‘All right, then,’ said the Savage defiantly, ‘I’m claiming the right to be
unhappy.’
‘Not to mention the right to grow old and ugly and impotent; the right to
have syphilis and cancer; the right to have too little to eat; the right to be lousy;
the right to live in constant apprehension of what may happen to-morrow; the
right to catch typhoid; the right to be tortured by unspeakable pains of every
kind.’
There was a long silence.
‘I claim them all,’ said the Savage at last.
Mustapha Mond shrugged his shoulders. ‘You’re welcome,’ he said.
 Quantitative foregrounding
Repetition
‘you’re claiming the right to be unhappy.’
‘All right, then,’ said the Savage defiantly, ‘I’m claiming the right to be
unhappy.’

Parallelism:
But I don’t want comfort. I want God, I want poetry, I want real danger, I
want freedom, I want goodness. I want sin.’
‘Not to mention the right to grow old and ugly and impotent; the right to
have syphilis and cancer; the right to have too little to eat; the right to be lousy;
the right to live in constant apprehension of what may happen to-morrow; the
right to catch typhoid; the right to be tortured by unspeakable pains of every
kind.’
 Graphological foregrounding
Capitalization of “ Controller” – “ Savage”
 Morphological / lexical foregrounding
Coining new words / concepts: V.P.S. - Violent Passion Surrogate
 Semantic foregrounding
Hyperbole & metaphor: We flood the whole system with adrenin
Paradox: All the tonic effects of murdering Desdemona and being murdered by Othello.
It’s the complete physiological equivalent of fear and rage.
 Syntactic foregrounding
Fragments:
• V.P.S.?’
• ‘Violent Passion Surrogate.
• Regularly once a month.
Marked Theme
In fact,’ said Mustapha Mond, ‘you’re claiming the right to be unhappy.’
Discourse foregrounding
Direct speech between Mustapha Mond and the Savage
 ‫«إنها إحدى شروط الوضع الصحي األمثل» ولهذا جعلنا معالجة ب‪ .‬ا‪ .‬ع‪ .‬إجباريًا»‪.‬‬
‫«ب‪ .‬ا‪ .‬ع‪.‬؟»‪.‬‬
‫« بديل االنفعاالت العنيفة‪ .‬ويمنح بصفة منتظمة مرة شهريّا حيث نغرق الجسم كله باألدرينالين‪ .‬وهو المعادل‬
‫الفسيولوجي الكامل للخوف والغضب» بكل التأثير المنشط الناتج عن قتل ديدمونة والموت علئ يد عطيل لكن دون‬
‫أي متاعب أو مضايقات »‬
‫« ولكنني احب هده المتاعب»‪.‬‬
‫«أمَا نحن فال؛ بل نحب أن نقوم باألشياء في يسر وراحة»‪.‬‬
‫«ولكئني ال أريد الراحة‪ .‬أنا أريد الرب‪ ،‬أريد الشعرء أريد خطرا حقيقيًا؛ أريد الحرية‪ ،‬أريد الصالح؛ أريد الذنب"‪.‬‬
‫فقال مصطفى موند‪« :‬الحقيقة أنك تطلب الحق في الشقاء»‪.‬‬
‫فرد البدائي متحديا‪« :‬حس ًنا إذن إنني أطالب بحقي في أن أكون شقيًا»‪.‬‬
‫«دون ذكر الحق في التقدم في السنء واإلصابة بالقبح والعجز والحق في اإلصابة بالزهري والسرطان‪ ،‬والحق في‬
‫قلة الطعام» والحق في الحقارة» والحق في العيش في قلق دائم مما قد يحمله الغد والحق في العدوى بالتيفود‪.‬‬
‫والحق في مكابدة كل أنواع اآلالم غير المحتملة من كل نوع»‪.‬‬

‫خيم صمت طويل قبل أن يقول البدائي أخيرًا‪« :‬أنا أطالب بالحق فيهم جميعاا‪.‬‬

‫فهز مصطفى موند كتفيه وقال‪« :‬علئ الرحب والسعة»‪.‬‬

‫‪‬‬ ‫‪Quantitative foregrounding‬‬
‫‪Repetition & parallelism‬‬
‫‘كل التأثير المنشط الناتج عن قتل ديدمونة والموت علئ يد عطيل لكن دون أي متاعب أو مضايقات »‬
‫« ولكنني احب هده المتاعب»‪.‬‬
‫«أمَا نحن فال؛ بل نحب أن نقوم باألشياء في يسر وراحة»‪.‬‬
‫«ولكئني ال أريد الراحة‪ .‬أنا أريد الرب‪ ،‬أريد الشعرء أريد خطرا حقيقيًا؛ أريد الحرية‪ ،‬أريد الصالح؛ أريد الذنب"‪.‬‬
‫فقال مصطفى موند‪« :‬الحقيقة أنك تطلب الحق في الشقاء»‪.‬‬
‫فرد البدائي متحديا‪« :‬حس ًنا إذن إنني أطالب بحقي في أن أكون شقيًا»‪.‬‬
‫«دون ذكر الحق في التقدم في السنء واإلصابة بالقبح والعجز والحق في اإلصابة بالزهري والسرطان‪،‬‬
‫والحق في قلة الطعام والحق في الحقارة والحق في العيش في قلق دائم مما قد يحمله الغد والحق في‬
‫العدوى بالتيفود‪ .‬والحق في مكابدة كل أنواع اآلالم غير المحتملة من كل نوع»‪.‬‬
 Morphological / lexical foregrounding
Coining new words / concepts: .»‫؟‬.‫ ع‬.‫ ا‬.‫ «ب‬- ‫بديل االنفعاالت العنيفة‬
 Semantic foregrounding
Hyperbole & metaphor:
‫نغرق الجسم كله باألدرينالين‬
Paradox:
‫ وهو المعادل الفسيولوجي الكامل للخوف والغضب‬.
» ‫بكل التأثير المنشط الناتج عن قتل ديدمونة والموت علئ يد عطيل لكن دون أي متاعب أو مضايقات‬
 Syntactic foregrounding
.»‫؟‬.‫ ع‬.‫ ا‬.‫ ب«ب‬
‫ بديل االنفعاالت العنيفة‬
»‫ «أمَا نحن فال‬
Discourse foregrounding
Direct speech between Mustapha Mond and the Savage
Results & Discussion
 Assess the value of foregrounding : why are these elements foregrounded /
relate to context
Writers use foregrounding tools to
• attract the reader’s attention to the foregrounded elements:
• create vividness and engagement
• create empathy
• have a shocking effect
• emphasize the importance / significance of a particular concept
• clarifiy
• highlight particular concepts in the text
 Assess the equivalence of the two texts: Is the target equivalent to the source
text?