By Giuseppina Balossi
This booklet focusses on machine methodologies as a fashion 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, ahead of 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 talking characters are analyzed utilizing Wmatrix software program constructed by means of UCREL at Lancaster college. The quantitative research is supplemented by way of a qualitative research into routine styles of metaphor. the writer concludes that those analyses effectively differentiate all six characters, either synchronically and diachronically, and claims that this technique can also be appropriate to the learn of character in non-literary language. The publication, written in a transparent and obtainable kind, can be of curiosity to post-graduate scholars and lecturers in linguistics, stylistics, literary reports, psychology and in addition computational techniques.
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Additional info for A Corpus Linguistic Approach to Literary Language and Characterization: Virginia Woolf's The Waves
1 Characters as people and as textual constructs Culpeper (2001: 6; see also Reicher 2010: 111–133) summarizes the debate over the ontological status of literary character as follows. Broadly speaking, there are two opposite approaches. The first consists of those who ‘humanise’ characters and argue that they can be usefully discussed, at least to some extent, independently of the text. The second […] consists of those who argue that characters are products of the plot or simply a textual phenomenon.
E. the first impression we have of a person), “confirmatory categorization” (if information on that person confirms our first impression), “re-categorization” (if information is not confirmed, we need to reassign it to a new category) and “piecemeal integration” (if none of the categories fit the information). Fiske and Neuberg’s model is serial since it assumes that we first activate stereotype-based processes and only successively, if strongly motivated and if the types of attributes are difficult to categorize, do we move towards the opposite end of the continuum and apply bottom-up processes that result in attribute-based impressions.
The various standpoints are illustrated below through some of the most representative criticism. g. “said Susan,” “said Louis”). ; see also Minow-Pinkney 1987: 162; Caughie 1991: 84; Goldman 1997: 26). Guiguet (1965: 448) also stresses the fact that, regardless of the presence of six viewpoints in the soliloquy sections and a single one in Bernard’s final soliloquy, the effect achieved is that of the “central consciousness” of the narrator. : 29), thus implying, like Guiguet, the presence of a unifying consciousness.