By David L. Hoover
Digital Literary Studies provides a huge and sundry photo of the promise and capability of tools and ways which are crucially based upon the electronic nature of the literary texts it reports and the texts and collections of texts with which they're in comparison. It specializes in variety, diction, characterization, and interpretation of unmarried works and throughout higher teams of texts, utilizing either large normal language corpora and smaller, extra really good collections of texts created for particular initiatives, and applies statistical thoughts utilized in the narrower confines of authorship attribution to broader stylistic questions. It addresses very important matters in all of the 3 significant literary genres, and deliberately applies assorted ideas and ideas to poetry, prose, and drama. It goals to give a provocative and suggestive pattern meant to motivate the applying of those and different ways to literary stories.
Hoover, Culpeper, and O’Halloran push the tools, ideas, and ideas in new instructions, follow them to new teams of texts or to new questions, regulate their nature or approach to software, and mix them in cutting edge ways.
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Extra info for Digital Literary Studies: Corpus Approaches to Poetry, Prose, and Drama
All of his keywords are fairly well dispersed, except his five instances of hare, his second most key keyword, which all occur in a small cluster towards the end of act 2, scene 4, his five instances of oer, which occur in a cluster in act 1, scene 4, and his eleven instances of very, all but one of which occur in act 2, scene 4, from which the above quotation is drawn (see there, for examples of very). Friar Laurence is a man of the Church, and hence the presence of heaven as the seventh-ranked keyword is not surprising.
5. Scott’s example of already as a stylistic keyword is a borderline open/closed class word. Adverbs are a varied and thus problematic category, which is considered open class by some linguists and closed by others. 6. ” 7. Readers may wonder what Capulet’s keyword t is supposed to represent. In fact, it is a reduced form of to. Not much significance can be attributed to the fact that Capulet has this graphological oddity. Also, we should remember that this reduced form would almost certainly have been put there by a compositor or editor, not by Shakespeare.
Semic analysis is analogous to the componential analysis of meaning developed within linguistic semantics (Goodenough 1956), and componential analysis of meaning had already been allied with trait psychology for real life people (D’Andrade 1965). Typically, the semantic features considered in characterization form binary opposites (for example, male/female, adult/child, good/ bad, beautiful/ugly). This can help highlight the structural similarities and contrasts between characters, as here in Fowler’s analysis of characters in The Great Gatsby: Tom “overlaps” with Jordan Baker in respect to some semes (athleticism, competitiveness, hardness), with Daisy in other respects (handsomeness, Developing Keyness and Characterization 37 selfishness, restlessness).