Abstract
This study aims to carry out a detailed and systematic stylistic analysis of linguistic patterns in Purple Hibiscus Novel by Chichamanda Ngozi Adichie. It particularly analyses a specific extract of the novel in terms of narration and point of view, conversational analysis, speech and thought presentations and mind style, and how these linguistic devices and patterns are employed by the author to shape characters’ personalities and relationships between them in the reader’s mind. The result appears to suggest that the author successfully represents the protagonist, Kambili as an obedient and a salient daughter who respects deeply his father, while her father, Eugene, is constructed as a strict father and religious who imposes an absolute control on his daughter.
Highlights
IntroductionStylistics generally can be defined as the study of language style and linguistic patterns used in a (literary) text
Stylistics generally can be defined as the study of language style and linguistic patterns used in a text
This paper is an endeavor to conduct a systematic stylistic analysis of an extract of a novel entitled Purple Hibiscus written by a Nigerian novelist, Chichamanda Ngozi Adichie (Adichie, 2003)
Summary
Stylistics generally can be defined as the study of language style and linguistic patterns used in a (literary) text. Most of stylistic studies have investigated ‘a certain aspect’ of style in a particular fictional text such as Guo’s (2017) analysis of ‘thought presentation’ in Mr Dalloway, Abdurrahman’s (2016) study of ‘complexity of sentence’ in A Rose for Emily and Teranishi’s (2007) research on ‘speech and thought presentation involved in the protagonist characterization’ in Herzog This present study, is distinct from the previous studies in the sense that it investigates several linguistic aspects, rather than only ‘one particular feature’. The novel’s main protagonist is Kambili, a fifteen-year old Nigerian girl She lives with her father, Eugene, who imposes his fanatical religious views on the family home (Tunca, 2009). Kambili becomes more open and has the courage to challenge her father’s ideological views
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