The Adjacent Language The Second Facet Theory for the Stylistics of Novel Writing

Abstract

This critical approach is based on a basic theory that it tries to prove for the tendency to analyze the language of the modern and contemporary Arabic novel, and it is concerned with a knowledge issue that is rooted in the consciousness of novel production and writing. Perhaps what characterizes the nature of this theory is that it is not directly concerned with revealing the first level of language (the formal level) in the realization of the narrative language of the novel, which is established by the linguistic and structuralist schools in discourse analysis, due to the availability of studies that have successfully addressed this level. Because of the availability of studies that have successfully addressed this level, it is concerned with revealing and analyzing that language adjacent to the second level of the language of this discourse, represented by (the visionary level) in the realization of the vision of the narrative world, by revealing the system of conscious cognitive and aesthetic visions that formed the nature of a second language of the novel on the basis that it is a special aesthetic awareness that imposed a certain vision that led to the production of language in its known physical form (narrative - dialogue) and according to a linguistic form. Dialogue) and according to a specific linguistic structure that suits the nature of the novelist's style and writing mechanisms (units/sentences/words/actions/sounds).                                                                                             

 Just as the novelist expresses and represents his vision of the world through language, writing, with its various components, is what makes this language a fluid thing capable of circulation and influence, and within its expressive capacity, it combines both directions together, loaded within the components of this language where (the formal structure) of the language, with its aesthetic formulation and innovative methods, is matched or complemented by (the visionary structure), with its This is what confirms that the language of the novel is a vast system of things; it includes different aesthetics, visions, and ideologies, and is not just an expressive device cut off from the world, but also artificial visions produced by this world with its own laws and components. This is what distinguishes the theory of the production of the fictional language from other written arts, and thus the idea of this critical approach goes beyond the limits of the aesthetic discourse of the fictional language in order to present different textual levels as a socio-discursive linguistic structure, combining the syntactic and lexical semantics with socio-cultural perceptions in a dialectical and productive conceptualization. Perhaps what concerns the researcher here is that the cultural connotation produced by the sociological reference within the text is of a more substantive than formal nature, and this, in turn, achieves a different semantic dimension for this language that is outwardly disconnected but implicitly connected with the reference of the verbal form at the same time.                                                                                                                                            

The narrative language of the novel represents a distinctive element through its ability not only to convey the external image intended to be expressed in writing by the author, but also to convey the meaning of this image and its cognitive and ideological nature. I mean here the shift from modernity to postmodernity - is explicitly shown through verbal experimentation that works to consolidate the characteristics of these shifts at the level of vision and construction at the same time, and here comes the role of language and its relationship to major epistemological issues such as logic, reality, ideology, anthropological institutionalization, the ideology of the text, and the sociology of discourse in general. Perhaps this is what opens the dialogue widely in front of the perceptions of the aesthetic nature of the social language, which (the neighboring language) starts mainly from its concepts, when literary writing becomes a social practice, albeit indirectly, where the written language is transformed from a mere text to being a discourse, and this imposes - practically - a special treatment In order to build relationships between the narrative text and its sociological context and then present this context as a synthesis of social languages, visions and concepts that are continuously adopted in the text in the form of imagined semantic and narrative structures.