By Giuseppina Balossi
This booklet focusses on desktop methodologies as a manner of investigating language and personality in literary texts. either theoretical and sensible, it surveys investigations into characterization in literary linguistics and character in social psychology, earlier than engaging in 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 built through UCREL at Lancaster collage. The quantitative research is supplemented by way of a qualitative research into habitual 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 research of character in non-literary language. The ebook, written in a transparent and available variety, may be of curiosity to post-graduate scholars and lecturers in linguistics, stylistics, literary stories, psychology and likewise computational methods.
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Extra resources for A Corpus Linguistic Approach to Literary Language and Characterization: Virginia Woolf's The Waves
Gorsky’s (1972: 449–466) standpoint represents a sensible compromise between the two extreme opposite opinions. : 450). In short, Gorsky does not deny the Chapter 2. : 453–458). Different features at play in this work substantiate Gorsky’s theory of three different levels of characterization. : 454). The second (“the typical”) is a consequence of the fact that each individual’s experience is part of the cosmic experience of man. : 458). As illustrated amply in Chapter 3, these different views also reflect wider debates over the nature of characterization.
Chapter 3. 1 Culpeper’s model for characterization: Top-down and bottom-up With regard to how we understand characters in a text, Culpeper (2001) illustrates and applies a model in which both language (textual cues) and cognition (mental processes) help form our impressions, and affect the way these impressions may change during the reading process. Culpeper’s model stands clearly within cognitive stylistics. However, his approach represents a compromise between those critics who have viewed characters as “either purely linguistic or purely cognitive phenomena” (Semino and Culpeper 2002: xv), and as a suitable solution for those structuralists (Toolan 1988: 92) who have admitted that both language and cognition need to be considered.
Yet, he also asserts that Bernard is not differentiated from the other five. Leaska (1970: 45) favours the notion that they are clearly differentiated. ). Between these two rather extreme positions, there stands a third one. ). Gorsky’s (1972: 449–466) standpoint represents a sensible compromise between the two extreme opposite opinions. : 450). In short, Gorsky does not deny the Chapter 2. : 453–458). Different features at play in this work substantiate Gorsky’s theory of three different levels of characterization.
A Corpus Linguistic Approach to Literary Language and Characterization: Virginia Woolf's The Waves by Giuseppina Balossi
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