By Giuseppina Balossi
This ebook focusses on computing device methodologies as a manner of investigating language and personality in literary texts. either theoretical and functional, it surveys investigations into characterization in literary linguistics and character in social psychology, sooner than accomplishing a computational research of Virginia Woolf’s experimental novel The Waves. Frequencies of grammatical and semantic different types within the language of the six conversing characters are analyzed utilizing Wmatrix software program constructed via UCREL at Lancaster collage. The quantitative research is supplemented through a qualitative research into ordinary styles of metaphor. the writer concludes that those analyses effectively differentiate all six characters, either synchronically and diachronically, and claims that this system is usually acceptable to the research of character in non-literary language. The booklet, written in a transparent and obtainable kind, may be of curiosity to post-graduate scholars and lecturers in linguistics, stylistics, literary reviews, psychology and in addition computational ways.
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Additional info for A Corpus Linguistic Approach to Literary Language and Characterization: Virginia Woolf's The Waves
G. g. friends, partners, lovers, colleagues). Group membership categories: These include knowledge about social groups: sex, race, class, age, nationality, religion, and so on. In forming our impressions of people, we do not rely only on our schematic knowledge, that is on conceptually driven, or top-down, processes. There may be cases in which we rely more on data-driven or bottom-up processes. : 83). This implies that more weight is given to prior knowledge. In contrast, if the focus is on bottom-up processes, we have a “person-based” or “attribute-based” impression because our impression is derived from the idiosyncratic attributes of the target person.
The hero would defeat the villain and marry the princess). Todorov (in Barthes et al. ” The critic focusses on the syntactic level of narrative fiction and assumes that nouns correspond to characters, verbs to actions, and adjectives to attributes. g. ). ” An actor is the actual character Chapter 3. g. 4 Barthes (in Barthes et al. 1987: 7–32) to some extent opposed the rigid model of Greimas, though he remained strongly attached to the notion of actant in terms of grammatical categories. ” The most radical view on the opposite front is that put forward by Bradley’s much older work Shakespearean Tragedy ( 1960), in which characters are viewed as individuals that can even have an existence outside the text.
G. g. g. using forks and knives for eating). Each may consist of a range of “tracks,” which represent different varieties of experience within the same general category. For instance, the restaurant script may include an Indian restaurant track, a take-away track and so on. A script is represented from the viewpoint of the participants and their role in the situation they are in. g. g. ” According to Schank and Abelson, in text comprehension, scripts are activated by “headers,” textual items related to specific scripts.