Stylistic Fracture and Mental Distress: A Cognitive-Linguistic Analysis of Schizophrenic Narration in One Flew Over the Cuckoo’s Nest and The Bell Jar

Manahil  Salman Owaid Almnhlawey ¹ ( Department of English, Isf. C., Islamic Azad University, Isfahan, Iran )
Parivash Esmaeili ² ( English Department, Na. C., Islamic Azad University, Najafabad, Iran )
Zainab  Kadim Igaab Igaab ³ ( Department of English/ College of Education for Humanities/ University of Thi-Qar/ Ministry of Higher Education/ Iraq )
Bahram Hadian ⁴ ( Department of English, Isf. C., Islamic Azad University, Isfahan, Iran )

Submited date : 2025-05-14 Accepted date : 2025-07-09

Keywords: cognitive stylistics, foregrounding, schizophrenia, depression, narrative cognition, attention windowing, stylistic analysis,

Abstract :

This study examines how linguistic style in One Flew Over the Cuckoo’s Nest by Ken Kesey and The Bell Jar by Sylvia Plath enacts psychological disturbance through formal textual mechanisms. Drawing on Foregrounding Theory, cognitive narratology, and clinical psycholinguistics, it investigates how stylistic deviations—such as metaphor saturation, syntactic fragmentation, referential ambiguity, and narrative disjunction—function as mimetic simulations of schizophrenia and depression. Through a mixed-methods approach that integrates close literary analysis with corpus-based annotation tools, the research analyzes selected passages for psycholinguistic markers associated with mental illness, including deictic confusion, lexical minimalism, and temporal distortion. Chief Bromden’s hallucinatory narration and Esther Greenwood’s affectively flattened voice are shown to linguistically instantiate psychosis and depressive cognition, respectively. The study contributes to interdisciplinary understandings of literature as a diagnostic interface, demonstrating that literary texts do not merely represent mental illness but cognitively perform it. Ultimately, this research offers a novel framework for analyzing narrative pathology, expanding the analytical reach of cognitive stylistics and underscoring literature’s potential to model and communicate disordered mental states.

 

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Full-Text:



Stylistic Fracture and Mental Distress: A Cognitive-Linguistic Analysis of Schizophrenic Narration in One Flew Over the Cuckoo’s Nest and The Bell Jar

1Manahil Salman Owaid Almnhlawey, Ph.D. Candidate, Department of English, Isf. C., Islamic Azad University, Isfahan, Iran

[e-mail]

*2Parivash Esmaeili, Assistant Professor, English Department, Na. C., Islamic Azad University, Najafabad, Iran

[e-mail]

3Zainab Kadim Igaab Igaab, Professor, Department of English/ College of Education for Humanities/ University of Thi-Qar/ Ministry of Higher Education/ Iraq

[e-mail]

4Bahram Hadian, Assistant Professor, Department of English, Isf. C., Islamic Azad University, Isfahan, Iran 

[e-mail]

 

14/05/2025 09/07/2015

Abstract

This paper investigates how formal textual mechanisms in One Flew Over the Cuckoo's Nest by Ken Kesey and The Bell Jar cause psychological disturbance in linguistic style. It looks at how stylistic deviations—such as metaphor saturation, syntactic fragmentation, referential ambiguity, and narrative disjunction—function as mimetic simulations of schizophrenia and depression using Foregrounding Theory, cognitive narratology, and clinical psycholinguistics. By means of a mixed-methods approach combining close literary analysis with corpus-based annotation tools, the research examines a subset of passages for psycholinguistic markers linked with mental illness, including deictic confusion, lexical minimalism, and temporal distortion. Linguistically, Esther Greenwood's affectively flattened voice and Chief Bromden's hallucinatory narrative show respectively how linguistically instantiate psychosis and depressed cognition. The study shows that literary works not only reflect cognitively but also contribute to multidisciplinary knowledge of literature as a diagnostic interface, so challenging mental illness. In the end, this study presents a fresh approach for examining narrative pathology, so increasing the analytical scope of cognitive stylistics and underlining the possibility of literature to represent and express disturbed mental states.
Keywords: cognitive stylistics, foregrounding, schizophrenia, depression, narrative cognition, literary linguistics, psycholinguistics, attention windowing, stylistic analysis

شکست سباق و رنج روانی: تحلیل زبان‌شناسی-زبان شناختی روایت اسکیزوفرنیک در دیوانه از قفس پرید و حباب شیشه‌ای

این پژوهش بررسی می‌کند که چگونه سبک زبانی در رمان دیوانه از قفس پرید نوشته کن کیزی و حباب شیشه‌ای اثر سیلویا پلات از طریق سازوکارهای صوری متنی، اختلالات روانی را بازنمایی و شبیه‌سازی می‌کند. با تکیه بر نظریه برجسته‌سازی، روایت‌شناسی شناختی و روان‌زبان‌شناسی بالینی، مطالعه حاضر به تحلیل انحرافات سبکی نظیر اشباع استعاری، گسست‌های نحوی، ابهام ارجاعی و گسست روایی می‌پردازد؛ عناصری که به‌مثابه بازنمایی‌های تقلیدی از اسکیزوفرنی و افسردگی عمل می‌کنند.  این تحقیق با استفاده از روش ترکیبی، تحلیل ادبی دقیق را با ابزارهای نشانه‌گذاری مبتنی بر پیکره ترکیب می‌کند تا نشانه‌های روان‌زبان‌شناختی اختلال روانی—از جمله سردرگمی دیکتیکی، مینیمالیسم واژگانی و اختلال زمانی—را در بخش‌های منتخب مورد بررسی قرار دهد. روایت توهم‌آلود چیف برامدن و صدای بی‌حس عاطفی استرگرینوود به‌ترتیب به‌عنوان تجلی زبانی روان‌پریشی و شناخت افسرده بازنمایی می‌شوند. این مطالعه به فهم میان‌رشته‌ای از ادبیات به‌عنوان واسطی تشخیصی کمک می‌کند و نشان می‌دهد که متون ادبی صرفاً بازتاب‌دهنده بیماری روانی نیستند، بلکه آن را از نظر شناختی اجرا می‌کنند. در نهایت، این پژوهش چارچوبی نوین برای تحلیل آسیب‌شناسی روایی ارائه می‌دهد و دامنه تحلیلی سبک‌شناسی شناختی را گسترش داده و بر ظرفیت ادبیات در مدل‌سازی و انتقال وضعیت‌های روانی مختل‌شده تأکید می‌ورزد.

واژگان کلیدی: سبک‌شناسی شناختی، برجسته‌سازی، اسکیزوفرنی، افسردگی، شناخت روایی، زبان‌شناسی ادبی، روان‌زبان‌شناسی، پنجره توجه، تحلیل سبکی

Introduction

Over the past two and a half decades, the convergence of cognitive stylistics, psycholinguistics, and literary neuroscience has significantly reshaped our understanding of the intricate relationship between linguistic form and mental experience. Recent advances in cognitive literary studies (Stockwell, 2002, 2020; Semino, 2002; Gavins, 2007; Burke, 2011; Zunshine, 2006; Jacobs, 2015; Caracciolo, 2014; Harrison, 2017) have demonstrated that language in literary texts does not merely describe psychological states—it constructs and simulates them. In particular, narratives depicting psychopathology have come under renewed scrutiny as sites where language performs disordered cognition, aligning with findings in clinical psychiatry and cognitive neuroscience (Hinzen & Rosselló, 2015; Andreasen, 2011; Aleman, 2020; Frith, 2007; Northoff & Duncan, 2016; Ford et al., 2020; Palaniyappan, 2021).

Literature thus emerges not simply as a medium for the expression of inner experience, but as a cognitive-communicative interface—one capable of enacting altered states of consciousness through its very stylistic fabric (Burke et al., 2016; Hakemulder et al., 2017; Miall & Kuiken, 2002; Troscianko, 2013; Carston & Wearing, 2015; Canning, 2020). Within this framework, novels such as Ken Kesey’s One Flew Over the Cuckoo’s Nest (1962) and Sylvia Plath’s The Bell Jar (1963) stand out as paradigmatic literary explorations of mental illness. Far from offering mere representations, these texts simulate psychopathological experience through syntactic fragmentation, metaphorical density, and referential incoherence (Jacobs, 2015; Bortolussi & Dixon, 2020; Semino & Demjén, 2016; Lahey, 2021; Fernyhough, 2016).

Narrative voice in these novels—Chief Bromden’s hallucinatory perceptions and Esther Greenwood’s depressive self-alienation—operates as a site of stylistic and cognitive estrangement. Their deviant narrative structures and idiosyncratic linguistic choices embody the very fragmentation they thematize, aligning with research on disorganized thought in psychosis and the linguistic features of major depressive disorder (Covington et al., 2005; Hinzen, 2014; McCarthy-Jones et al., 2017; Beck et al., 2021; De Boer et al., 2018). These texts enact pathology through language, not merely about it—echoing theoretical developments in cognitive narratology and clinical discourse analysis (Palmer, 2004; Herman, 2013; Toolan, 2021; Hinzen, 2019; Demjén, 2020; Canning, 2021).

Foregrounding Theory, originally developed within Prague School structuralism (Mukařovský, 1964/2011; Leech, 2008), provides a key analytic tool for investigating these stylistic strategies. Foregrounding refers to deliberate deviation from linguistic norms to produce perceptual salience and heightened processing in the reader (van Peer et al., 2007; Dijkstra et al., 2012; Burke, 2015; Miall & Kuiken, 2002). In psychopathological narratives, these deviations take on a mimetic function, reflecting neurological and cognitive disruptions commonly associated with psychiatric conditions (Zahn et al., 2015; Northoff, 2019; Andreasen, 2021; Stephan et al., 2016; Langdon et al., 2002).

When read through the lens of attention theory and neurocognitive frameworks (Sanford & Emmott, 2012; Carston & Wearing, 2015; Connor & Green, 2020), the stylistic aberrations in Cuckoo and The Bell Jar resemble phenomena such as attentional fragmentation, semantic overload, and cognitive disorganization—core symptoms in schizophrenia spectrum and affective disorders (Whitford et al., 2012; DeLisi, 2001; Hinzen et al., 2018; Kircher et al., 2022; Yao et al., 2021; Bentall, 2021). Esther’s narrative, marked by abrupt shifts in self-reference and internalized metaphorical constructs, mirrors depressive rumination and cognitive narrowing (Watkins, 2008; Beck et al., 2021; Demjén & Semino, 2017), while Bromden’s hallucinatory language and fluid perception of time and space map closely onto schizophrenic disorganization and sensory intrusion (Ford & Mathalon, 2005; de Boer et al., 2021; Lahey, 2022).

Moreover, recent corpus-assisted studies in clinical linguistics have identified consistent features of mental illness in spontaneous speech—such as decreased referential clarity, pronoun ambiguity, syntactic reduction, and metaphorical intensification—all of which are prominently featured in the narrative styles of these two novels (Semino et al., 2018; Bendix et al., 2021; Hinzen, 2019; Demjén et al., 2020; McCabe et al., 2014; Minor et al., 2020). These textual features enable a simulation of disordered mental states that operates below the thematic level, embedded in the grammar and rhythm of the prose. Thus, this study proposes that One Flew Over the Cuckoo’s Nest and The Bell Jar serve as case studies in the linguistic embodiment of psychopathology. By aligning stylistic deviation with cognitive dysfunction, the narratives function as simulations of psychosis and depression, respectively. Their formal features are not merely aesthetic embellishments but carry diagnostic resonance—what some scholars now refer to as "literary biomarkers" (Hinzen, 2020; Semino, 2022; Bendix et al., 2023). These developments challenge the long-standing boundary between literary fiction and clinical discourse, suggesting literature’s potential contribution to the understanding, diagnosis, and even detection of mental illness (Koopman, 2015; Mar & Oatley, 2008; Troscianko & Hiatt, 2020; Hakemulder, 2021).

In synthesizing insights from literary stylistics (Simpson, 2014; Toolan, 2021), cognitive narratology (Herman, 2013; Caracciolo, 2014), and psychopathology (Andreasen, 2021; Northoff, 2020), this study constructs an interdisciplinary framework for analyzing how narrative language enacts psychological disturbance. It builds on a growing movement toward integrative models of reading and cognition (Jacobs, 2016; Canning, 2020; Burke et al., 2016; Zunshine, 2020), proposing that literary texts can function as both aesthetic and diagnostic artifacts—illuminating the architecture of the mind in distress through the medium of linguistic form.

 

Literature Review

Theoretical Background

Originally developed by Jan Mukařovský (1932/2011) and later polished by Leech (2008) and Stockwell (2020), foregrounding theory remains fundamental in modern cognitive stylistics. According to the theory, deviations from linguistic norms—syntactic, semantic, phonological, or graphological—cause perceptual salience that attracts reader attention and increases deeper cognitive involvement (Miall & Kuiken, 2002; Dijkstra et al., 2012; van Peer et al., 2007; Burke, 2011). Strategies including syntactic defamiliarization, semantic incongruity, and metaphorical excess help to realize foregrounding effects—that which not only disturbs regular processing but also increases reader awareness of both form and content (Simpson, 2014; Gavins & Lahey, 2021; Burke et al., 2016; Lahey, 2020).

By looking at how foregrounded language connects with emotional arousal, immersive reading, and memory encoding (Jacobs, 2015; Hartung et al., 2017; Lüdtke et al., 2014; Knoop et al., 2022), affective stylistics has expanded this paradigm even more. These results cross with Attention Windowing Theory (Sanford & Emmott, 2012) and Text World Theory (Werth, 1999) to show how narrative structures shape mental representations of fictional worlds and guide readers' cognitive resource allocation. Variations in narrative form—such as temporal disjunctions, referential opacity, or disordered syntax—can tax attentional processing, a mechanism that reflects the cognitive disruptions found in psychiatric symptomatology (Carston & Wearing, 2015; Emmott & Alexander, 2014; Connor & Green, 2020).

Furthermore, the growing influence of embodied cognition and neurocognitive poetics has reframed the effects of foregrounding in biological terms, suggesting that linguistic deviance activates sensorimotor systems, mirror neuron networks, and affective circuits engaged in empathy and mental state attribution (Burke et al., 2016; Jacobs & Willem, 2018; Knoop et al., 2022; Gallese, 2007; Hakemulder, 2022). This strongly theoretically supports the theory that narrative strategies can replicate changed mental states and promote empathic resonance (Zunshine, 2006; Mar & Oatley, 2008; Koopman, 2015; Hakemulder et al., 2017). Such consequences are especially important when reading works illustrating psychopathology. In stories of mental illness, stylistic variation serves as a semiotic surrogate for disturbed cognition rather than only as artistic flourish. Interdisciplinary models of narrative identity (Herman, 2013; Fernyhough, 2016), psychiatric narrativity (Bentall, 2021; Hinzen, 2022), and Theory of Mind in literature (Zunshine, 2006; Kidd & Castano, 2013) find footing here interpretatively.

 

Empirical Background

Particularly in works meant to cause disorientation or mimic mental illness, empirical studies in cognitive stylistics and clinical linguistics have started to measure the cognitive effects of foregrounding. Using eye-tracking, reading time measurements, and EEG data, Wallot et al. (2014), Oberheim et al. (2016), and Willems et al. (2016) showed that stylistic irregularity is highly correlated with increased cognitive load, reader slowdown, and elevated affective arousal. Literary works simulating fractured cognition or psychological trauma amplify these effects (Jacobs, 2015; Knoop et al., 2022; Troscianko & Hiatt, 2020).

Semino et al. (2018), Bendix et al. (2021), and Hinzen (2019) corpus-based studies by Semino et al. (2018), Bendix et al. (2021), and Hinzen (2019) show that metaphorical density and syntactic disorganization are notably more common in clinical narratives of psychosis and depression than in neurotypical language. Patients with schizophrenia, for instance, frequently show referential incoherence, too strong metaphor generation, and pronoun changes—features closely reflected in the language of Chief Bromden in One Flew Over the Cuckoo's Nest (McCarthy-Jones et al., 2017; Andreasen, 2011; Kircher et al., 2022). Likewise, Esther Greenwood's story in The Bell Jar (Rude et al., 2010; Demjén & Semino, 2017; De Boer et al., 2021) shows traits of repeated, elliptical structures and a narrowing of temporal focus that define depressed stories.

Neuroscience studies support these conclusions. Reading books with high foregrounding, according to Hartung et al. (2017) and Lüdtke et al. (2014), stimulates brain areas linked with emotional regulation, autobiographical memory, and social cognition. These results coincide with those of Hakemulder et al. (2017) and Koopman (2015), who contend that stylistically rich works improve empathic involvement, especially in stories showing psychological suffering. Recent studies in literary neuroscience have also shown that stylistic markers of disordered cognition activate neural circuits linked with empathy and self-referential processing, so supporting the hypothesis that literature might replicate mental illness (Knoop et al., 2022; Ford et al., 2020; Northoff, 2020; Fernyhough, 2016). These facts support the hypothesis that narrative language—especially when stylized to reflect cognitive disturbance—can induce experiential mirroring, so enabling readers to "feel" mental illness from the inside (Semino & Demjén, 2016; Bentall, 2021).

Literature Gaps

Though the junction of mental illness and narrative style is attracting more and more attention, several important gaps still exist. Few studies methodically combine Foregrounding Theory in concert with post-2010 cognitive models—such as Attention Windowing, Text World Theory, or neurocognitive poetics—to examine stylistic markers of psychopathology in literary fiction (Sanford & Emmott, 2012; Gavins & Lahey, 2021; Hartung et al., 2017). Although basic studies by Semino et al. (2018) and Demjén & Semino (2017) have examined metaphor and mental illness in autobiographical works, corpus-based, cognitive stylistic frameworks have not been widely applied to canonical fiction including The Bell Jar and One Flew Over the Cuckoo's Nest.
            Second, while interpretive studies of these books abound (Jacobs, 2015; Lahey, 2021; Semino et al., 2022), few attempts have been made to quantify linguistic traits—such as metaphor frequency, syntactic deviation, or referential inconsistency—as measurable indices of psychopathology. This gap is closed in the present work by means of corpus-linguistic analysis combined with close stylistic reading to find literary markers mimicking cognitive symptoms reported in clinical linguistics and psychiatry.

Third, little comparative study has been done on how various diseases—more especially, schizophrenia against depression—are differently expressed in first-person narrative. Emerging research indicates that while depression correlates with temporal flattening, lexical rigidity, and self-negating language (Zahn et al., 2015; Hinzen & Rosselló, 2015; Rude et al., 2010; Andreasen, 2021), schizophrenia often associated with disorganized syntax, referential ambiguity, and hallucinatory metaphors shows different linguistic profiles.

Examining The Bell Jar and One Flew Over the Cuckoo's Nest through a multidisciplinary lens not only enhances literary analysis but also adds to an increasing corpus of work where literature is seen as a diagnostic interface—a space where mental illness is not only represented but linguistically enacted (Hinzen, 2022; Semino & Demjén, 2016; Koopman, 2015). This method has great potential for next studies in cognitive clinical linguistics and the medical humanities, maybe guiding early identification of psychopathological markers and improving public awareness of mental health by narrative simulation. bottom of form

 

The Issue

            Traditionally, critical readings of Sylvia Plath's The Bell Jar and Ken Kesey's One Flew Over the   Cuckoo's Nest have focused on broad thematic concerns—feminist resistance, criticisms of psychiatric institutions, and existential despair investigations. Although these methods have produced insightful political and philosophical analysis, they sometimes ignore the subtle linguistic textures by which mental fragmentation is performed. Little but important ways in which language itself becomes a site of psychological disturbance remain under investigation.
            This work fills in a major void in literary research: the under-theorized link between stylistic variation and the portrayal of psychological pathology. It specifically questions how narrative style—by means of syntactic errors, metaphor, and coherence—functions as a vehicle for simulating changed cognitive states linked with schizophrenia and depression. This study views these disorders as linguistically embedded experiences that can be traced and interpreted through textual form, not as only narrative themes.

The central focus of the present work is the question: how might artistic deviations serve as mimics of disrupted mental processes? Moreover, how might modern cognitive models—such as those of attention windowing, Theory of Mind, and narrative empathy—offer explanatory power for these artistic techniques? This work intends to transcend thematic analysis to expose the deeper linguistic mechanisms by which literature embodies and expresses mental illness by stressing the junction of form, cognition, and pathology.

 

Study Objectives

The main goal of this study is to find how, especially with regard to schizophrenia and depression, linguistic style in narrative fiction might be used to replicate and depict experiences of mental illness. The study is based on the presumption that, via artistic decisions, narrative discourse not only reflects but also creates psychological reality.

            First, this study looks for and examines stylistically foregrounded linguistic elements—such as atypical syntax, figurative language, and disrupted referential structures—that function as textual simulacra of mental illness. These components are investigated as intentional narrative tools reflecting the changed cognitive and perceptual states connected with psychiatric disorders. Second, the study intends to do a comparative analysis of the linguistic representation of depression and schizophrenia as stated through the internal monologues and narrative voices of two different characters. This contrasting approach is meant to highlight how various forms of mental illness show in artistic terms and how these manifestations vary across narrative points of view. Thirdly, the study aims to implement modern advances in cognitive narratology and psycholinguistics, more especially theories and models created between 2010 and 2025. These modern models will be applied to investigate how narrative style captures events including psychosis, dissociation, and changed self-referentiality, so revealing the cognitive foundations of stylistic distortion. Finally, the study will include statistical approaches to enhance and support the qualitative textual analysis. Analysis of metaphor density, syntactic deviation, and referential inconsistency will be part of quantitative measures. These measures will enable the identification of patterned deviations that are unique of particular mental states as expressed in literary works and provide empirical support for the interpretive assertions.

 

Research Questions and Hypotheses

RQ1: What distinctive linguistic features in the two novels act as foregrounding mechanisms in contexts of mental distress?

RQ2: How do Kesey’s and Plath’s narrative styles converge and diverge in encoding psychological fragmentation?

RQ3: To what extent does psychological suffering disrupt attention windowing within narrative discourse?

H₀₁: Foregrounding mechanisms are not significantly used in narrating psychological breakdown.

H₀₂: No significant stylistic divergence exists between Kesey’s and Plath’s representations of mental illness.

Ho2. Psychological distress does not significantly affect attention allocation in the narrative structure.

Significance of the Research

Through reconceptualizing literature as a diagnostic interface—an imaginative but analytically precise space in which linguistic form reflects and refracts the dynamics of mental illness—this work makes a vital contribution to modern literary and cognitive scholarship. Fundamentally, the study contends that stylistic errors in fiction—such as disrupted syntax, metaphorical overload, and referential breakdown—can serve as mimetic simulations of real psychiatric conditions. In this sense, literature acts through language rather than only reflects madness.
The research promotes a really multidisciplinary conversation by aggregating ideas from literary studies, psycholinguistics, cognitive narratology, and clinical psychiatry. It builds on and supports an increasing corpus of research examining the linguistic expression of mental illness (Hinzen, 2022; Semino & Demjén, 2016; Fernyhough, 2016; Bentall, 2021). The project uses these models to show how fiction can encode fractured subjectivities with amazing accuracy—offering a form of narrative psychiatry with both expressive and analytically rich character.

            This paper presents a novel methodological approach combining empirical tools of cognitive science and corpus linguistics with the close reading practices of literary criticism. Inspired by current developments in attention theory, narrative cognition, and literary neuroscience, it creates a hybrid framework able to follow how narrative style mimics disordered mental states. Rooted in modern models of mental health—especially the cognitive stylistic theories of Bortolussi and Dixon (2020) and metaphor-based models of psychopathology advanced by Semino et al. (2022)—the study provides the first comparative stylistic-cognitive mapping of The Bell Jar and One Flew Over the Cuckoo's Nest.

The main argument of the study is both theoretical and artistic: these books use the structural and rhetorical patterns of their language to perform rather than only show madness. By means of foregrounded stylistic disruptions—including syntactic instability, metaphorical saturation, and breakdowns in reference—the narratives linguistically instantiate psychosis and depression, so enabling readers to personally interact with the internal disarray typical of these mental states. In this perspective, madness becomes a textual condition performed by narrative technique instead of a theme silently told.

Apart from enhancing the literary analysis of two iconic works, this study advances more general scientific knowledge of mental health as well as culture. Linking language form to the simulation of mental states emphasizes how literature might be a tool for increasing empathy, improving mental health literacy, and so strengthening our shared knowledge of psychopathology (Hakemulder et al., 2017; Koopman, 2015; Mar et al., 2011).

Moreover, especially in clinical and diagnostic settings, this work opens fresh directions for applied research. It begs the possibility that early detection strategies for psychiatric diseases might be developed using literary devices and linguistic cues found in fiction. This suggests that the line separating literature from medicine may be more permeable—and more promising—than hitherto thought, in line with developing attempts to establish linguistic biomarkers for mental illness (Hinzen, 2019; Bendix et al., 2021; Semino et al., 2022).

Methodology

Research Design

This work uses a mixed-methods cognitive stylistic approach to synthesize the empirical accuracy of corpus-based quantitative techniques with the interpretive depth of qualitative literary analysis. Particularly those linked with schizophrenia and depression, this integrated framework enables the identification, analysis, and quantification of stylistic elements that replicate disordered cognition in literary works (Burke, 2016; Bortolussi & Dixon, 2020; Semino et al., 2022; Lahey, 2021). Grounded in modern models of narrative cognition and clinical linguistics, the twin approach guarantees that both subjective interpretation and statistical validation guide the conclusions (Toolan, 2021; Carminati et al., 2014; Demjén, 2020).

Qualitative Phase

            Based on Foregrounding Theory (Mukařovský, 1964/2011; Leech, 2008; Stockwell, 2020), the qualitative phase used close reading techniques emphasizing on stylistic deviations that create cognitive salience and simulate psychological fragmentation. The focus was on:

--Conceptual blending and metaphorical saturation (Semino, 2008; Lakoff & Johnson, 2003; Lahey, 2020)

--Garden-path structures and syntactic fragmentation—Burke et al., 2016; Carston & Wearing, 2015—

--Semantic disjunction and repetition as forms of language inertia or cognitive looping (Gavins & Lahey, 2021; Jacobs, 2015); Particularly as markers of unstable or dissociated selfhood, perspective changes and unreliable narrative shifts (Emmott & Alexander, 2014; Palmer, 2004; Herman, 2013).

--Foregrounded elements align with psychiatric models of disorganized thought, attentional collapse, and changed self-representation and are read not just as stylistic effects but as linguistic simulations of mental states (Hinzen & Rosselló, 2015; Bentall, 2021; Ford et al., 2020).

Quantitative Phase

            Inspired by psycholinguistic research on schizophrenia, depression, and narrative discourse, the quantitative analysis operationalizes cognitive stylistic elements through manual tagging and corpus-based annotation. Selected passages are annotated using validated linguistic criteria (Semino et al., 2018; Bendix et al., 2021; Hinzen, 2019) for:

--Deictic confusion—incongruous use of spatial/temporal markers and pronouns—Nonlinear syntax—fragmentation, parataxis, syntactic disjunction—e.g., 
intensified and conceptually dense metaphor use, metaphorical clustering 
Pronoun distortions—shifts in first-/ third-person reference suggesting dissociation or ego-fragmentation—have first-/ third-person reference.

UAM Corpus Tool 3.3 (O'Donnell, 2012) and AntConc (Anthony, 2020) are used for annotations that enable both micro-level clause analysis and more general corpus trends on syntactic variation, lexical density, and referential opacity.

Sources and Sampling

Two classic literary works renowned for their deft depictions of mental illness provided textual material for this project:

--Excerpts from Ken Kesey's 1962 One Flew Over the Cuckoo's Nest include hallucinations, scenes involving the "fog--machine," which symbolically and linguistically evoke psychosis, and Chief Bromden's opening monologues (Chapters 1–4).

--Chapters 7–15 of Sylvia Plath's The Bell Jar (1963) comprises Esther Greenwood's suicidal thoughts, psychiatric hospitalization, and fractured internal monologue.

            These pieces were selected depending on their dense stylistic texture and alignment with clinical features of schizophrenia (e.g., hallucinations, thought disorder) and major depressive disorder (e.g., anhedonia, cognitive narrowing), respectively (Andreasen, 2011; Rude et al., 2010; Zahn et al., 2015; McCarthy-Jones et al., 2017). For coding across several linguistic variables, each fragment was broken out into individual clausal units. Using psycholinguistic criteria validated in past studies, the corpus underwent multi-tiered annotations (Semino et al., 2022; Hinzen, 2022; Demjén & Semino, 2017).

Methodical Framework

Inspired by both stylistic and cognitive theories, the analytical lens of the study is set in three-pronged operationalization of foregrounding:

Lexical Foregrounding

This covers the use of neologism, metaphor, and lexical errors departing from semantic conventions. Drawing from Conceptual Metaphor Theory (Lakoff & Johnson, 2003; Semino, 2008), metaphor density and semantic incongruity are coded for their affective salience and conceptual alignment with mental illness (Lahey, 2020; Demjén et al., 2020; Bendix et al., 2021).

Syntactic Foregrounding

Features that mirror the cognitive disorganization seen in schizophrenia and depressed states— fragmentation, parataxis, and garden-path constructions—this dimension looks at noncanonical sentence structures (Burke et al., 2016; Hinzen & Rosselló, 2015; Ford et al., 2020; McCabe et al., 2014). Processing difficulty and reader disorientation (Obermeier et al., 2016; Wallot et al., 2014) are related to these structures.

Narrative Foregrounding

Grounded in narrative psychology and cognitive narratology, this axis emphasizes deictic shifts, unreliable narration, and perspective discontinuity (Palmer, 2004; Herman, 2013; Emmott & Alexander, 2014). Such changes are understood as mimetic representations of dissociation, self-fragmentation, and disrupted Theory of Mind (Zunshine, 2006; Fernyhough, 2016; Northoff, 2020). Attention Windowing Theory (Sanford & Emmott, 2012; Carston & Wearing, 2015) models the reader's capacity to track referents and events under increasing cognitive load, so guiding our interpretation of these dimensions. In stories of mental illness, stylistic complexity taxes these cognitive mechanisms, so acting rather than only describing the psychological conditions being portrayed (Gavins, 2007; Connor & Green, 2020; Toolan, 2021; bottom of form).

Results and Discussion

Schizophrenia Linguistic Simulation

A form of linguistic and conceptual fragmentation reflecting basic elements of psychosis, including perceptual disintegration, referential instability, and ideational derailment, Chief Bromden's narrative voice in One Flew Over the Cuckoo's Nest epitribes what Hinzen (2019) and Bentall (2021) describe as "narrative schizophrenia." Hallowed imagery and delusional ideas that challenge the line separating outside reality from internal fantasy define his monologues (McCarthy-Jones et al., 2017; Andreasen, 2011; Kircher et al., 2022).

One of his most often used metaphors is "It's the fog machine." Once more they are using it (Kesey, 1962). Representing institutional control, this metaphor serves both practically and symbolically. Lacking the subordinating structures usually indicating logical or temporal relationships, his syntax often consists of paratactic chains and asyndetic constructions. For instance: "I listen to wall noise. The cables here are It's the Combine, Kesey, 1962. As reported in clinical linguistics and diagnostic psychiatry, these disjointed utterances mimic thought disorder—more especially, loose associations and derailment—as noted in Hinzen & Rosselló, 2015; Andreasen, 2011; De Boer et al., 2021; Ford et al., 2020.

Foregrounded in Bromden's account are:

--Lexical invention: Combine is a paranoiac neologism signifying a large, conspiratorial system of control. It serves as a semantically loaded construct that distorts reality and offers internal coherence to delusional beliefs, so acting as a controlling metaphor (Lahey, 2020; Gavins & Lahey, 2021; Fernyhough, 2016).

--Frequent sentence fragments and absences of cohesive devices—e.g., conjunctions, prepositions—reflect the reduced propositional structure usually seen in schizophrenia (Bendix et al., 2021; McCabe et al., 2014; Hinzen, 2019).

--Excessive use of multisensory metaphor (“shaking and buzzing and shrieking”) enacts sensorimotor dysregulation, a condition in which perceptual stimuli are misinterpreted or magnified—a common symptom in psychosis (Stephens & Tonks, 2021; Ford & Mathalon, 2005; Northoff, 2020).

Moreover, a main characteristic of Bromden's speech is referential ambiguity. Pronouns like "they," "it," and "him" seem without clear antecedents, so simulating deictic confusion, a symptomatology linked with schizophrenia (Semino et al., 2022; Bendix et al., 2021; de Villiers, 2019). These interruptions compromise attention windowing (Sanford & Emmott, 2012), as readers try to preserve referential stability within the story.

Esther Greenwood: Linguistic Encoding of Depression

The Bell Jar's protagonist, Esther Greenwood, shows a linguistic profile fit for a major depressive disorder (MDD). Attached with clinical traits including anhedonia, indecisiveness, and reduced executive functioning, her narration is marked by attenuated affect, lexical flatness, and cognitive constriction (Holmes et al., 2021; Rude et al., 2010; Andreasen, 2011). She clearly employs negation and existential void to create affective flattening: "I couldn't see the point of getting up." I had nothing to excite me (Plath, 1963). This reflects empirical results showing negation, self-referential looping, and pessimistic cognitive schemas (Zahn et al., 2015; Demjén & Semino, 2017; Beck et al., 2021) predominate in depressed speech.

In Esther's account, foregrounded stylistic features include: Frequent "not," "never," "nothing" helps to create a linguistic construction of hopelessness and cognitive entrenchment (Rude et al., 2010; Holmes et al., 2021; Bendix et al., 2021).

Her story suggests low cognitive complexity and processing effort by favoring flat sentence structure with little subordination, so consistent with depressed cognitive fatigue (Andreasen, 2011; Bortolussi & Dixon, 2014).

Esther often expresses a dysfunctional relationship with time, best shown by lines like "The past is a blur, the future a blank." Clinically, this reflects temporal flattening in depression (Zahn et al., 2015; Demjén & Semino, 2017; Holmes et al., 2021).

Whereas Esther's language is marked by semantic flattening—a tonal uniformity that makes emotionally charged scenes indistinguishable from ordinary ones— Bromden's narration is saturated in delusional metaphor and sensory confusion. A stylistic corollary to emotional numbing, this monotony of voice serves (Koopman, 2015; Demjén & Semino, 2017; Fernyhough, 2016).

Comparative Observations

Feature	Chief Bromden (Schizophrenia)	Esther Greenwood (Depression)
Metaphor Density	High (e.g., fog machine, Combine)	Low; muted or absent metaphors
Syntax	Fragmented, paratactic, disordered	Simplified, low complexity
Referential Stability	Ambiguous (e.g., pronouns without antecedents)	Stable but emotionally neutral
Attention Windowing	Severely disrupted	Constricted and narrowed
Narrator Reliability	Hallucinatory, delusional	Cognitively lucid but affectively detached

Conclusion

This paper has shown how closely the cognitive and linguistic architecture of mental illness is entwined with the stylistic fabric of One Flew Over the Cuckoo's Nest and The Bell Jar. Using Foregrounding Theory, attention windowing, and clinical psycholinguistics, the study shows that both books replicate psychopathological states via the formal processes of language itself, not only show them.

High metaphor density, paratactic syntax, sensory overload, and referential ambiguity in Chief Bromden's narrative fit clinical symptoms of schizophrenia, including thought disorder, perceptual fragmentation, and delusional thinking. His voice, fractured, hallucinatory, and erratic, reflects the breakdown of cognitive control and semantic coherence sometimes noted in psychotic episodes (Hinzen & Rosselló, 2015; McCarthy-Jones et al., 2017; Semino et al., 2018). By contrast, Esther Greenwood's account shows a linguistic profile typical of severe depression. Lexical negation, minimal syntactic embedding, semantic flattening, and temporal dysregulation define her muted story voice. These traits capture the cognitive narrowing, affective disengagement, and temporal dysfunction linked with depression (Rude et al., 2010; Zahn et al., 2015; Holmes et al., 2021).

By showing how foregrounded deviations—usually considered as aesthetic tools—serve as cognitive simulations of mental pathology, this dual analysis greatly increases the applicability of Foregrounding Theory. These artistic deviations are shown to change the reader's attention window, destabilize narrative immersion, and inspire empathic alignment with changed mental states when seen through modern models of attention and reader processing (Sanford & Emmott, 2012; Carston & Wearing, 2015; Koopman, 2015; Hakemulder et al., 2017).

The study provides a methodologically hybrid model for literary analysis bridging the gap between humanistic interpretation and empirical textual analysis by including qualitative close reading with quantitative linguistic coding. This method represents the promise of cognitive stylistics as a field able to solve the linguistic simulation of trauma, identity fragmentation, and psychiatric experience with both analytical precision and interpretive depth (Burke et al., 2016; Bortolussi & Dixon, 2020; Semino et al., 2022). Significantly, the results rethink narrative fiction as a diagnostic interface—a domain where stylistic deviations act as literary correlates of psychiatric symptoms and where textual form itself becomes a model of disordered cognition (Hinzen, 2022; Bentall, 2021; Fernyhough, 2016). Language thus becomes a medium for the cognitive enactment of psychopathology, able of mimicking and externalizing the perceptual and affective contours of the disordered mind, not only a means of describing psychopathology.

Future Orientations

Building on this basis, next studies could use this paradigm to a greater spectrum of clinical disorders, including dissociation identity disorder, obsessive-compulsive disorder, bipolar disease, and PTSD. Moreover, transcending textual fiction, the model could be fit for the study of multimodal stories including movies, graphic novels, video games, and digital storytelling platforms. Through visual, aural, and interactive dimensions, these forms provide fresh affordances for stylistic foregrounding—that which might further highlight how narrative media replicate and distribute experiences of mental illness (Troscianko & Hiatt, 2020; Canning, 2021; Hakemulder, 2022). Furthermre, the framework has possible uses in clinical education, bibliotherapy, and literary neuroscience, so supporting multidisciplinary discussions on empathy, stigma reduction, and the cognitive processes by which literature enables readers to occupy minds unlike their own (Koopman, 2015; Mar et al., 2011; Zunshine, 2006).

Together, this work not only deepens our knowledge of The Bell Jar and One Flew Over the Cuckoo's Nest as literary explorations of mental illness, but also provides a scalable and flexible model for analyzing how narrative language performs psychological states—foregrounding literature's continuing power to render, reflect, and even reframe the human mind in crisis.

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Biodata

Manahil Salman Owaid Almnhlawey is a teacher in Al-Shaheed Abu-Wahab Al-Jaberey Intermediate School. She earned a BA in English Language and Art 2007, and MA in Linguistics in 2015. Throughout her academic career, she has published several academic papers in peer-reviewed journals. Her primary research interest lies in pragmatics, stylistics, teaching, and semantics.

E-mail: [e-mail]

Parivash Esmaeili is an Assistant Professor of English Language and Literature in English Department, Islamic Azad University, Najafabad Branch, Najafabad, Iran. She has been teaching different courses in the field of TEFL and English Literature and her studies mainly focus on cognitive linguistics and cognitive poetics, with a keen interest in metaphor identification and cognitive grammar.

Email: [e-mail]

Zainab Kadim Igaab is a professor of Linguistics at English Department/ College of Education for Humanities/ University of Thi-Qar/ Iraq. I taught different materials in the BA, MA and Ph.D. like Semantics, Pragmatics, Discourse Analysis, Contrastive Linguistics and Morphology and Syntax. My MA thesis was specialized in Morphology and Syntax; my Ph.D. was specialized in Pragmatics and my promotions were specialized in Contrastive Linguistics and Semantics. At the present, I'm teaching my Ph.D. students Pragmatics, my MA students Semantics and my BA students Grammar.

Email: [e-mail]

Bahram Hadian teaches in the Department of English, Islamic Azad University of Isfahan, Isfahan Branch, Isfahan, Iran. Bahran Hadain is an Assistant Professor of Linguistics and has taught courses of variegated character, including linguistics and translation courses. He has published a good number of articles on discourse, pragmatics and translation in local and international journals. His research interests include discourse analysis, translation, the metaphor city of language, and critical discourse analysis.

Email: [e-mail]

 

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