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Books on the topic 'Corpus stylistics'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Corpus stylistics and Dickens's fiction. New York: Routledge, 2012.

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2

Inc, ebrary, ed. Historical corpus stylistics: Media, technology and change. London: Continuum, 2008.

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3

Corpus stylistics in principles and practice: A stylistic exploration of John Fowles' The Magus. London: Continuum, 2011.

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4

Mick, Short, ed. Corpus stylistics: Speech, writing and thought presentation in a corpus of English writing. London: Routledge, 2004.

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5

Corpus linguistics and the study of literature: Stylistics in Jane Austen's novels. London: Continuum, 2010.

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6

Narrative progression in the short story: A corpus stylistic approach. Amsterdam: John Benjamins Pub. Co., 2009.

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7

Historical Corpus Stylistics Corpus and Discourse. Continuum, 2012.

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8

Mahlberg, Michaela. Corpus Stylistics and Dickens's Fiction. Taylor & Francis Group, 2015.

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9

Corpus Stylistics: Theory and Practice. Edinburgh University Press, 2030.

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10

McIntyre, Dan, and Brian Walker. Corpus Stylistics: Theory and Practice. Edinburgh University Press, 2019.

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11

Corpus Stylistics: Speech, Writing and Thought Presentation in a Corpus of English Writing. Taylor & Francis Group, 2011.

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12

Mahlberg, Michaela, Wolfgang Teubert, and Lorenzo Mastropierro. Corpus Stylistics in Heart of Darkness and Its Italian Translations. Bloomsbury Publishing Plc, 2017.

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13

Approaches to Corpus Stylistics: The Corpus, the computer and the study of Literature (Routledge Advances in Corpus Linguistics). Routledge, 2007.

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14

Busse, Beatrix. Speech, Writing, and Thought Presentation in 19th-Century Narrative Fiction. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190212360.001.0001.

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The present study investigates speech, writing, and thought presentation in a corpus of 19th-century narrative fiction including, for instance, the novels Frankenstein, Jane Eyre, Wuthering Heights, Oliver Twist, and many others. All narratives typically contain a reference to or a quotation of someone’s speech, thoughts, or writing. These reports further a narrative, make it more interesting, natural, and vivid, ask the reader to engage with it, and, from a historical point of view, also reflect cultural understandings of the modes of discourse presentation. To a large extent, the way a reader perceives a story depends upon the ways discourse is presented, and among these, speech, writing, and thought, which reflect a character’s disposition and state of mind. Being at the intersection of linguistic and literary stylistics, this study develops a new corpus-stylistic approach for systematically analyzing the different narrative strategies of historical discourse presentation in key pieces of 19th-century narrative fiction, thus identifying diachronic patterns as well as unique authorial styles, and places them within their cultural-historical context. It shows that the presentation of characters’ minds reflects an ideological as well as an epistemological concern about what cannot be reported, portrayed, or narrated and that discourse presentation fulfills the narratological functions of prospection and encapsulation, marks narrative progression, and shapes readers’ expectations as to suspense or surprise.

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15

Jockers, Matthew L. Style. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037528.003.0006.

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This chapter shows how stylistic signals can be derived from high-frequency features and how the usage, or nonusage, of those features was susceptible to influences that are external to the so-called “authorial style,” external influences such as genre, time, and gender. These aspects of style were explored using a controlled corpus of 106 British novels where genre was a key point of analysis. The chapter first provides an overview of statistical or quantitative authorship attribution before discussing the author's project, in which he analyzed the degree to which novelistic genres express a distinguishable stylistic signal by focusing on the distribution of novels in a corpus based on their genres and decades of publication. Through a series of experiments, he demonstrates the use of the classification methodology as a way of measuring the extent to which factors beyond an individual author's personal style may play a role in determining the linguistic usage and style of the resulting text.

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16

Temperley, David. The Musical Language of Rock. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.001.0001.

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A theory of the structure of rock music is presented, addressing aspects such as tonality/key, harmony, rhythm/meter, melody, phrase structure, timbre/instrumentation, form, and emotional expression. The book brings together ideas from the author’s previous articles but also contains substantial new material. Rock is defined broadly (as it often is) to include a wide range of late twentieth-century Anglo-American popular styles, including 1950s rock & roll, Motown, soul, “British invasion” rock, soft rock, heavy metal, disco, new wave, and alternative rock. The study largely employs the informal, intuitive methods of conventional music theory and analysis, but it is also informed by corpus data. An important component of the theory is a representation of pitches—the “line of fifths”—that sheds light on issues such as stylistic distinctions within rock, effects of surprise, and emotion. The theory also entails a model of expression with three dimensions, representing valence, energy, and tension; this proves to be a powerful tool for tracing shifts in expressive effect within songs. The theory features novel approaches to issues such as cadences, melodic-harmonic coordination, the handling of sectional boundaries, and the classification of formal types. The final two chapters present analyses of six songs and a broader consideration of rock in its historical and stylistic context.

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17

Ferrando, Ignacio. The adnominal linker -an in Andalusi Arabic, with special reference to the poetry of Ibn Quzmān (twelfth century). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198701378.003.0004.

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This chapter describes a syntactical structure typical of Andalusi Arabic, as well as many other Arabic varieties: the use of a nominal suffix -an/-in after an indefinite noun followed by a modifier. Some scholars have linked this morpheme to the so-called tanwīn (‘nunation’), the morpheme of indefiniteness of Classical Arabic. However, both the synchronic analysis of the linguistic facts as they appear in the Andalusi corpus explored in this chapter (the poetry of Ibn Quzmān, twelfth century) and the use of this suffix in other Arabic dialects suggest a different function. The adnominal linker represents not an indefiniteness morpheme or the remains of the tanwīn of Classical Arabic, but a syntactic connection between the indefinite noun and its modifier. It was not a sporadic, stylistic, or optional trait, but a specific and almost compulsory feature widespread in Andalusi Arabic sources, at least until the thirteenth century.

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18

Jockers, Matthew L. Nationality. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037528.003.0007.

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This chapter explores the potential influences or entailments of nationality on authorial style. Nations have distinct linguistic habits of style. For example, the British have the propensity to drop the word the in front of certain nouns for which American speakers and writers always deploy the article. This explains why the mean relative frequency of the word the is lower in British and Irish novels than in American novels. In this chapter, an analysis of a corpus of 3,346 nineteenth-century American and British novels reveals that British authors use the word the at a rate of 5 percent, compared to 6 percent for their American counterparts. Thus, the word the is a strong indicator of author nationality, at least when trying to differentiate between British and American texts. This chapter discusses the results of author nationality analyses, along with word usage analyses, for British, American, and Irish novels. It demonstrates what stylistic or linguistic feature analyses can provide in terms of separating writers by nationality.

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19

Jockers, Matthew L. Influence. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037528.003.0009.

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This chapter explores literary influence and the idea that literature can and perhaps even must be read as an evolving system with certain inherent rules. Attempts to demonstrate literary imitation, intertextuality, and influence have relied almost entirely upon close reading. To chart influence empirically, we need to go beyond the individual cases and look to the aggregate. Information cascades theory provides an attractive framework for modeling literary influence and intertextuality at scale. This chapter discusses the results of the author's thematic-stylistic analyses of nineteenth-century novels using Gephi software to identify signs of historical change from one book to the next. The data reveal that the corpus appears to behave in an evolutionary manner. At the macro scale, we see evidence that theme and style are influenced by time and author gender. The findings suggest that a writer's creativity is tempered and influenced by the past and the present, by literary “parents,” and by a larger literary ecosystem.

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20

Darrigol, Olivier. Atoms, Mechanics, and Probability. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816171.001.0001.

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One of the pillars of modern science, statistical mechanics, owes much to one man, the Austrian physicist Ludwig Boltzmann (1844–1906). As a result of his unusual working and writing styles, his enormous contribution remains little read and poorly understood. The purpose of this book is to make the Boltzmann corpus more accessible to physicists, philosophers, and historians, and so give it new life. The means are introductory biographical and historical materials, detailed and lucid summaries of every relevant publication, and a final chapter of critical synthesis. Special attention is given to Boltzmann’s theoretical tool-box and to his patient construction of lofty formal systems, even before their full conceptual import could be known. This constructive tendency largely accounts for his lengthy style, for the abundance of new constructions, for the relative vagueness of their object, and for the puzzlement of commentators. This book will help the reader cross the stylistic barrier and see how ingeniously Boltzmann combined atoms, mechanics, and probability to invent new bridges between the micro- and macro-worlds.

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