Academic literature on the topic 'Shorthand writing'
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Journal articles on the topic "Shorthand writing"
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Smith, Philip T., and Susan Kelliher. "Frequency effects in writing shorthand." Language and Cognitive Processes 7, no. 1 (1992): 67–84. http://dx.doi.org/10.1080/01690969208409380.
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Andrianova, Irina. "Stenography and Literature: What did Western European and Russian Writers Master the Art of Shorthand Writing For?" Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (2019): 1–11. http://dx.doi.org/10.1556/060.2019.64101.
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What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously. This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright's competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing. Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following V. Krestovsky), who applied shorthand writing in his literary work but the only one in the world literature for whom stenography became something more than just shorthand. This art modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of his novels and the story A Gentle Creature, and led to changes in the writer's private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author's artistic talent came to the peak. The largest and most important part of his literary writings was created in that period. As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in short-hand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.
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Berman. "Tracing Characters: Political Shorthand and the History of Victorian Writing." Victorian Studies 63, no. 1 (2020): 57. http://dx.doi.org/10.2979/victorianstudies.63.1.03.
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Abhinand, K. R., and H. K. Anasuya Devi. "An Approach for Generating Pattern-Based Shorthand Using Speech-to-Text Conversion and Machine Learning." Journal of Intelligent Systems 22, no. 3 (2013): 229–40. http://dx.doi.org/10.1515/jisys-2013-0039.
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AbstractRapid handwriting, popularly known as shorthand, involves writing symbols and abbreviations in lieu of common words or phrases. This method increases the speed of transcription and is primarily used to record oral dictation. Someone skilled in shorthand will be able to write as fast as the dictation occurs, and these patterns are later transliterated into actual, natural language words. A new kind of rapid handwriting scheme is proposed, called the Pattern-Based Shorthand. A word on a keyboard involves pressing a unique sequence of keys in a particular order. This sequence forms a pattern that defines the word. Such a pattern forms the shorthand for that word. Speech recognition involves identifying, by a machine, the words spoken by a speaker. These spoken words form speech input signals to a computer that is equipped to correctly recognize the words and do further action, such as convert it to text. From this text input, unique shorthand patterns are generated by the system. The system employs machine learning to improve its performance with experience, by creating a dictionary of mappings from word to patterns in such a way that the access to existing patterns is faster with progression. This forms a new knowledge representation schema that reduces the redundancy in the storage of words and the length of information content. In conclusion, the speech is converted into textual form and then reconstructed into Pattern-Based Shorthand.
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Rhodes, Alice. "“Transcripts of the Heart”: John Thelwall and Romantic-era Shorthand Writing." European Romantic Review 31, no. 3 (2020): 339–49. http://dx.doi.org/10.1080/10509585.2020.1747698.
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Zesiger, Pascal, Marie-Dominique Martory, and Eugene Mayer. "Writing without Graphic Motor Patterns: A Case of Dysgraphia for Letters and Digits Sparing Shorthand Writing." Cognitive Neuropsychology 14, no. 5 (1997): 743–63. http://dx.doi.org/10.1080/026432997381439.
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Milutinović Bojanić, Sanja. "Libido sciendi translated into libido amorandi in gyneconomies." European Journal of Women's Studies 18, no. 4 (2011): 379–90. http://dx.doi.org/10.1177/1350506811415197.
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The text aims to explore one peculiar practice of translation manifested in the transformation of passion for knowledge into passion for life. More precisely, the issue at stake is the modification of libido sciendi (known also as Faust’s quest), which occurred during the 20th century, notably in writings inspired by ‘DS’, the shorthand Hélène Cixous uses to refer to ‘sexual difference/différence sexuelle’. The Latin words in the title serve as markers in interpreting politics/poetics of writing, which actively include forms of expression that belong to different disciplines such as philosophy, psychoanalysis and above all, literature. Special attention is paid to Cixous’s early text, Révolutions pour plus d’un Faust, written in 1975, and its attempt to transform/translate energies of destruction into life-respecting creativity.
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Mudrik, Liad, and Uri Maoz. "“Me & My Brain”: Exposing Neuroscience's Closet Dualism." Journal of Cognitive Neuroscience 27, no. 2 (2015): 211–21. http://dx.doi.org/10.1162/jocn_a_00723.
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Our intuitive concept of the relations between brain and mind is increasingly challenged by the scientific world view. Yet, although few neuroscientists openly endorse Cartesian dualism, careful reading reveals dualistic intuitions in prominent neuroscientific texts. Here, we present the “double-subject fallacy”: treating the brain and the entire person as two independent subjects who can simultaneously occupy divergent psychological states and even have complex interactions with each other—as in “my brain knew before I did.” Although at first, such writing may appear like harmless, or even cute, shorthand, a closer look suggests that it can be seriously misleading. Surprisingly, this confused writing appears in various cognitive-neuroscience texts, from prominent peer-reviewed articles to books intended for lay audience. Far from being merely metaphorical or figurative, this type of writing demonstrates that dualistic intuitions are still deeply rooted in contemporary thought, affecting even the most rigorous practitioners of the neuroscientific method. We discuss the origins of such writing and its effects on the scientific arena as well as demonstrate its relevance to the debate on legal and moral responsibility.
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Pihlaja, Beau. "Inventing Others in Digital Written Communication: Intercultural Encounters on the U.S.-Mexico Border." Written Communication 37, no. 2 (2020): 245–80. http://dx.doi.org/10.1177/0741088319899908.
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At a multinational company, daily written communication between staff, supervisors, customers, and suppliers is frequently conducted using digital tools (e.g., emails, smartphones, and texting applications) often across multiple nationally, linguistically, and conceptually defined borders. Determining digital tools’ impact on intercultural encounters in professional environments like these is difficult but important given the sheer volume of digital contact in technical and professional environments and the ongoing global struggle to broker peace and productivity amid communities’ many perceived differences. Using examples drawn from a case study of binational manufacturing sister companies, I build on recent work in professional, networked written communication to analyze two WhatsApp exchanges, one between a central study participant and his customer, another between the participant and an employee. This study shows how asynchronous digital communication tools created complex “silences” in writing between participants. In these silences (e.g., a lack of or delayed response to a text) individuals try to explain others’ actions for themselves. Drawing on a combination of third-generation activity theory and Latourian actor-network theory, I show that while explaining others’ actions in writing with whatever cultural shorthand is available may remain a common part of everyday life and research, it can be a poor guide for explaining others’ actions, especially in digital writing. My study shows how research of, and instruction in, digital tool use in intercultural writing contexts requires attention to the material conditions and objectives potentially shaping one’s own as well as others’ composition choices.
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Ross, Richard J. "The Career of Puritan Jurisprudence." Law and History Review 26, no. 2 (2008): 227–58. http://dx.doi.org/10.1017/s0738248000001309.
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Scholars have long asked to what extent there was a distinctive Puritan jurisprudence in seventeenth-century Massachusetts. Purita n jurisprudenceis a shorthand that refers to those elements of seventeenth-century Massachusetts's laws and institutions designed or selected because of the early colony's religious commitments. Among the fundamentals of Puritan jurisprudence were the integrated and determined use of legal and ecclesiastical institutions to foster a godly community, the importance of the Bible as a touchstone for the legitimacy of rules, and a constitutional order restricting colony-wide voting and political office to regenerate members of covenanted churches. Some historians speak of “Puritan justice” or “Puritan legal culture” rather than “Puritan jurisprudence.” Differing in detail and emphasis, these formulations point to a core idea animating much writing about early Massachusetts: that the colony lived by a legal order distinctive by the standards of contemporary England and her North American and Caribbean colonies and strongly shaped by Puritan religious commitments and social thought.
Dissertations / Theses on the topic "Shorthand writing"
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Kristensson, Per Ola. "Discrete and Continuous Shape Writing for Text Entry and Control." Doctoral thesis, Linköping : Department of Computer and Information Science, Linköping University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-8877.
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Magableh, Murad. "A generic architecture for semantic enhanced tagging systems." Thesis, De Montfort University, 2011. http://hdl.handle.net/2086/5172.
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The Social Web, or Web 2.0, has recently gained popularity because of its low cost and ease of use. Social tagging sites (e.g. Flickr and YouTube) offer new principles for end-users to publish and classify their content (data). Tagging systems contain free-keywords (tags) generated by end-users to annotate and categorise data. Lack of semantics is the main drawback in social tagging due to the use of unstructured vocabulary. Therefore, tagging systems suffer from shortcomings such as low precision, lack of collocation, synonymy, multilinguality, and use of shorthands. Consequently, relevant contents are not visible, and thus not retrievable while searching in tag-based systems. On the other hand, the Semantic Web, so-called Web 3.0, provides a rich semantic infrastructure. Ontologies are the key enabling technology for the Semantic Web. Ontologies can be integrated with the Social Web to overcome the lack of semantics in tagging systems. In the work presented in this thesis, we build an architecture to address a number of tagging systems drawbacks. In particular, we make use of the controlled vocabularies presented by ontologies to improve the information retrieval in tag-based systems. Based on the tags provided by the end-users, we introduce the idea of adding “system tags” from semantic, as well as social, resources. The “system tags” are comprehensive and wide-ranging in comparison with the limited “user tags”. The system tags are used to fill the gap between the user tags and the search terms used for searching in the tag-based systems. We restricted the scope of our work to tackle the following tagging systems shortcomings: - The lack of semantic relations between user tags and search terms (e.g. synonymy, hypernymy), - The lack of translation mediums between user tags and search terms (multilinguality), - The lack of context to define the emergent shorthand writing user tags. To address the first shortcoming, we use the WordNet ontology as a semantic lingual resource from where system tags are extracted. For the second shortcoming, we use the MultiWordNet ontology to recognise the cross-languages linkages between different languages. Finally, to address the third shortcoming, we use tag clusters that are obtained from the Social Web to create a context for defining the meaning of shorthand writing tags. A prototype for our architecture was implemented. In the prototype system, we built our own database to host videos that we imported from real tag-based system (YouTube). The user tags associated with these videos were also imported and stored in the database. For each user tag, our algorithm adds a number of system tags that came from either semantic ontologies (WordNet or MultiWordNet), or from tag clusters that are imported from the Flickr website. Therefore, each system tag added to annotate the imported videos has a relationship with one of the user tags on that video. The relationship might be one of the following: synonymy, hypernymy, similar term, related term, translation, or clustering relation. To evaluate the suitability of our proposed system tags, we developed an online environment where participants submit search terms and retrieve two groups of videos to be evaluated. Each group is produced from one distinct type of tags; user tags or system tags. The videos in the two groups are produced from the same database and are evaluated by the same participants in order to have a consistent and reliable evaluation. Since the user tags are used nowadays for searching the real tag-based systems, we consider its efficiency as a criterion (reference) to which we compare the efficiency of the new system tags. In order to compare the relevancy between the search terms and each group of retrieved videos, we carried out a statistical approach. According to Wilcoxon Signed-Rank test, there was no significant difference between using either system tags or user tags. The findings revealed that the use of the system tags in the search is as efficient as the use of the user tags; both types of tags produce different results, but at the same level of relevance to the submitted search terms.
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Robertson, David Douglas. "Kamloops Chinuk Wawa, Chinuk pipa, and the vitality of pidgins." Thesis, 2011. http://hdl.handle.net/1828/3840.
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This dissertation presents the first full grammatical description of unprompted (spontaneous) speech in pidgin Chinook Jargon [synonyms Chinúk Wawa, Chinook]. The data come from a dialect I term ‘Kamloops Chinúk Wawa’, used in southern interior British Columbia circa 1900. I also present the first historical study and structural analysis of the shorthand-based ‘Chinuk pipa’ alphabet in which Kamloops Chinúk Wawa was written, primarily by Salish people. This study is made possible by the discovery of several hundred such texts, which I have transliterated and analyzed. The
Basic Linguistic Theory-inspired (cf. Dixon 2010a,b) framework used here interprets Kamloops Chinúk Wawa as surprisingly ramified in morphological and syntactic structure, a finding in line with recent studies reexamining the status of pidgins by Bakker (e.g. 2003a,b, forthcoming) among others. Among the major findings: an unusually successful pidgin literacy including a widely circulated newspaper Kamloops Wawa, and language planning by the missionary J.M.R. Le Jeune, O.M.I. He planned both for the use of Kamloops Chinúk Wawa and this alphabet, and for their replacement by English. Additional sociolinguistic factors determining how Chinuk pipa
was written included Salish preferences for learning to write by whole-word units (rather than letter by letter), and toward informal intra-community teaching of this first group literacy. In addition to compounding and conversion of lexical roots, Kamloops Chinúk Wawa morphology exploited three types of preposed grammatical morphemes—affixes, clitics, and particles. Virtually all are homonymous with and grammaticalized from demonstrably lexical morphs. Newly identified categories include ‘out-of-control’ transitivity marking and discourse markers including ‘admirative’ and ‘inferred’. Contrary to previous claims about Chinook Jargon (cf. Vrzic 1999), no overt passive
voice exists in Kamloops Chinúk Wawa (nor probably in pan-Chinook Jargon), but a previously unknown ‘passivization strategy’ of implied agent demotion is brought to light. A realis-irrealis modality distinction is reflected at several scopal levels: phrase, clause and sentence. Functional differences are observed between irrealis clauses before and after main clauses. Polar questions are restricted to subordinate clauses, while alternative questions are formed by simple juxtaposition of irrealis clauses. Main-clause interrogatives are limited to content-question forms, optionally with irrealis marking. Positive imperatives are normally signaled by a mood particle on a realis clause, negative ones by a negative particle. Aspect is marked in a three-part ingressive-imperfective-completive system, with a marginal fourth ‘conative’. One negative operator has characteristically clausal, and another phrasal, scope. One copula is newly attested. Degree marking is largely confined to ‘predicative’ adjectives (copula complements). Several novel features of pronoun usage possibly reflect Salish L1 grammatical habits: a consistent animacy distinction occurs in third-person pronouns, where pan-Chinook Jargon 'iaka' (animate singular) and 'klaska' (animate plural) contrast with a null inanimate object/patient; this null and 'iaka' are non-specified for number; in intransitives,
double exponence (repetition) of pronominal subjects is common; and pan-Chinook Jargon 'klaksta' (originally ‘who?’) and 'klaska' (originally ‘they’) vary freely with each other. Certain etymologically content-question forms are used also as determiners. Kamloops Chinúk Wawa’s numeral system is unusually regular and small for a pidgin; numerals are also used ordinally in a distinctly Chinook Jargon type of personal name. There is a null allomorph of the preposition 'kopa'. This preposition has additionally a realis complementizer function (with nominalized predicates) distinct from irrealis 'pus' (with verbal ones). Conjunction 'pi' also has a function in a syntactic focus-increasing and -reducing system.<br>Graduate
Books on the topic "Shorthand writing"
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Rapid writing in 6 days: The quick-and-easy program to master faster writing. Berkley Pub. Group, 1994.
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G, Hankin Ellen, ed. Notemaking and study skills, SuperWrite: Alphabetic writing system. South-Western Pub. Co., 1992.
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W, McCormick Robert. REALWRITE realtime: Computerized shorthand writing system : lesson book. 2nd ed. Pearson Prentice Hall, 2004.
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W, McCormick Robert. REALWRITE/realtime: Computerized shorthand writing system : basic theory lessonbook. Prentice Hall, 1998.
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SuperWrite notemaking and study skills: Alphabetic writing system. South-Western Educational Pub., 1996.
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1948-, Baer John, ed. SuperWrite: Alphabetic writing system : office professional. 2nd ed. South-Western Educational Pub., 1999.
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Lemaster, A. James. SuperWrite: Alphabetic writing system : comprehensive course Volume 2. South-Western Pub. Co., 1991.
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Scovil, W. E. Practical stenography, or, Short-hand for all classes and professions, especially adapted to the pulpit and the bar, legible as the plainest writing, and requiring no teacher but the book, also a simplified system of phonography; or the same short-hand used for verbatim reporting. [s.n.], 1985.
Find full textBook chapters on the topic "Shorthand writing"
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"Phonetic Shorthand." In Writing Technology in Meiji Japan. BRILL, 2015. http://dx.doi.org/10.1163/9781684175628_007.
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"‘Jumble’, Shorthand and Repetition." In Children's Drawing and Writing. Routledge, 2011. http://dx.doi.org/10.4324/9780203844366-11.
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Bowles, Hugo. "The devil’s handwriting." In Dickens and the Stenographic Mind. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829072.003.0003.
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This chapter provides a technical analysis of Brachygraphy, with a focus on the writing of shorthand. It begins with a description of Gurney’s symbols and arbitrary characters (section 2.1), drawing on Dickens’s teaching notebooks to highlight the complex memorization process involved (section 2.2). Section 2.3 explores Gurney’s bizarre rules for abbreviation and vowel reduction during the writing process, while section 2.4 describes the mental processes involved in taking down verbatim speech in Gurney shorthand and shows how, by comparison with the more economical Pitman system, the mental processing involved in writing Gurney shorthand was much more demanding on its users. Section 2.5 examines Dickens’s distinctive shorthand writing style by comparing it with that of his novice pupil Arthur Stone, while section 2.6 shows how Dickens used creative shortcuts and graphic alterations to change the Gurney system to one that was easier both to write and to teach.
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Bowles, Hugo. "Gurney and Sons." In Dickens and the Stenographic Mind. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829072.003.0002.
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Dickens learned shorthand in 1828 from a manual called Brachygraphy, written by Thomas Gurney, which he memorably describes in David Copperfield as a ‘savage stenographic mystery’. This chapter contextualizes the mystery by placing Gurney shorthand in its historical context, as one of many competing alphabetical shorthand systems in the Victorian period. Section 1.1 of the chapter traces the chronological development of sixteenth, seventeenth, and eighteenth-century stenographies and contrasts the alphabetical design, structure, and contents of Brachygraphy with the phonographic system of Isaac Pitman, which came to dominate the nineteenth-century market. Section 1.2 sets out the principles of economy in speech and writing which constrained stenographers in the design of their systems. Section 1.3 examines the surviving shorthand texts that Dickens produced. It also introduces Dickens’s ‘Manchester notebook’, showing how his shorthand teaching notes sought to iron out defects in the Gurney system and provide creative alternatives.
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Underhill, Timothy. "‘The most beautiful hand’." In Pen, print and communication in the eighteenth century. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622300.003.0005.
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Shorthand is a significant area in early modern palaeography, with systems widespread in the eighteenth century. Some aspired to a place in the gamut of hands taught by writing-masters at a time when multi-script literacy was a necessary accomplishment for many. John Byrom’s ‘Universal English Short-hand’ was one of the most important prior to Isaac Pitman’s. In contrast with those of rivals such as James Weston, Byrom promoted it to potential learners and patrons as a way of writing ‘in the most … beautiful Manner’. In considering some of its manifold uses by his pupils –effectively a scribal community before its publication in 1767 – this chapter focuses on Byrom’s concern for how shorthand looked on the page. This arose from his near lifelong ambition to print in shorthand – a project which at one stage involved William Caslon – and the chapter sketches some reasons why this ambition was thwarted.
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Bowles, Hugo. "Plays of the pen." In Dickens and the Stenographic Mind. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829072.003.0008.
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This chapter explores representations of shorthand in Dickens’s life and work, providing examples of stylistic areas that were influenced by his shorthand learning. These include his use of consonant clusters to obtain phonaesthetic effects in character names (section 7.1), reported speech in Doctors Commons (section 7.2), stenographic direct speech in Bleak House and Little Dorrit (section 7.3), the construction of verbal puzzles in Pickwick, Great Expectations, All the Year Round, and the Uncommercial Traveller (section 7.4), and stenographic episodes of reading and writing in Great Expectations, Dombey and Son, The Haunted Man, and Bleak House (section 7.5). The last two sections hypothesize that Dickens may even have adopted a stenographic perspective in the construction of plot (section 7.6) and of his own identity as an author (section 7.7). The chapter argues that the stenographic representations pervading Dickens’s work directly reflect his experience of learning and using shorthand.
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Bowles, Hugo. "The stenographic mind." In Dickens and the Stenographic Mind. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829072.003.0005.
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This chapter brings together the descriptions and discussion in Chapters 1, 2, and 3 to summarize the main argument of the book. Drawing on Douglas-Fairhurst’s metaphor of the concertina, the chapter introduces the idea of the ‘stenographic mind’ as the consequence of the intensive mental operations involved in writing and reading Gurney shorthand. These operations include word games and language play (section 4.1), phonotactics (understanding what words are possible in a language) and redintegration (combining parts of words to produce a whole one) (section 4.2), visualization (section 4.3), and vocalization (section 4.4). The chapter argues that the cumulative effect of these operations was to produce a form of stenographic thinking which enabled Dickens to solve the mental puzzle of the Gurney shorthand script and control the relationship between stenographic writability and readability. This is argued to be a new form of literacy which strongly influenced Dickens’s writing practices.
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Igarashi, Yohei. "Scribble-Scrabble Genius." In The Connected Condition. Stanford University Press, 2019. http://dx.doi.org/10.11126/stanford/9781503610040.003.0001.
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Although Coleridge is mostly known for being a copious talker who was impossible to transcribe, this chapter recovers Coleridge’s role as transcriber, theorist of transcription practices, and inventor of his own idiosyncratic shorthand. Considering Coleridge’s time as a parliamentary reporter, his self-reflexive notebook entries, and the history of stenography, this chapter posits that Coleridge pursued an efficient writing system to record not speech but the flow of his own silent thoughts. Also discussing today’s optical character recognition software and the shorthand effect (when letters or words uncannily become illegible shapes, and non-linguistic shapes come to look like linguistic signs), this chapter culminates in a reading of the “signs” in “The Rime of the Ancient Mariner.”
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Bowles, Hugo. "PKWK." In Dickens and the Stenographic Mind. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829072.003.0007.
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This chapter explores the impact of Dickens’s shorthand reading and writing habits on his well-known representations of dialect in Pickwick. It introduces the main literary techniques used by nineteenth-century writers in their representations of dialect (section 6.1) and explores Dickens’s use of non-standard orthography in his representations of the speech of the Pickwickians (section 6.2). These deviant spellings are analysed in terms of allegro speech and eye dialect (section 6.3) and semi-phonetic speech (section 6.4). Section 6.5 examines how, in his deviant manipulation of spelling, Dickens uses rules that he learned from the Gurney shorthand system. These are summarized in Table 6.2 (section 6.6). The argument made in the chapter is that learning the Gurney system made it easier for Dickens to visualize and construct non-standard spellings and gave him the mental flexibility to find a variety of orthographic solutions to complex phonetic problems.
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Igarashi, Yohei. "Introduction." In The Connected Condition. Stanford University Press, 2019. http://dx.doi.org/10.11126/stanford/9781503610040.003.0006.
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This chapter shows that the Romantic period was very much a preview – similar and yet different – of our own “connected condition.” Romantic poets witnessed the rise of transcription technologies (shorthand), large-scale data collection and processing through standardized forms, social networks and communications and transportation infrastructure, and instantaneous contact at a distance via telegraphy. The chapter goes on to discuss the concept of the “dream of communication,” ideals of good writing style (like clarity and brevity) treated by the New Rhetoric of the eighteenth century, the book’s own method (the “normal method”), poetic difficulty, and finally the chapters to come.
Conference papers on the topic "Shorthand writing"
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Zhai, Shumin, and Per-Ola Kristensson. "Shorthand writing on stylus keyboard." In the conference. ACM Press, 2003. http://dx.doi.org/10.1145/642611.642630.
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