The Stylistic Features of the Isolated Voice Attributed to the Poetical Work “Fragments of a Woman” by Suad Al-Sabbah as a Model

Abstract

The stylistic features of isolated sound are an integral part of the inner rhythmicity of the text, and the inner rhythmicity constitutes a part of the acoustic structures that help reveal the vocal implementation to embody the imagination and achieve the image in the text at large. The criterion we adopted in our analysis of the stylistic features of the isolated voice attributed to the poetical work “Fragments of a Woman” by Suad Al-Sabbah is the ratio of whispered sounds on the one hand to its counterparts of fricatives and explosive sounds on the other hand, and the extent to which this ratio exceeds its ratios in normal speech. We were able to observe that the proportions of the presence of different sounds in the poems are commensurate with the emotional and moral connotations within them. The percentage of whispered sounds in the poems exceeded its proportion in ordinary speech when the poet was dominated by the feelings of weakness and fear for challenging the established social constants and norms or as a result of the feelings of sorrow and sadness that the poet lives in the life of repression and injustice. Nonetheless, this percentage was notably lower when the poet covered her revolution by expressing her pride in her homeland or background. The presence of the explosive sounds in a higher percentage compared to fricatives might be attributed to the fact that the entire poetic work is an all-encompassing revolution against numerous constants and long-standing concepts of the Eastern society, and one of the means of expressing the revolution linguistically is the high-rate of explosive sounds.