Corpus Stylistics

In this paper, we use a corpus stylistic methodology to investigate whether serious (i.e., ‘literary’) fiction is syntactically more complex than popular (i.e., ‘genre’) fiction. This is on the basis of literary critical claims that the structural complexity of serious fiction is one of the features that distinguishes it from popular literature (which, by contrast, is seen as easier to read). We compare the serious and popular fiction sections of the Lancaster Speech, Writing and Thought Presentation corpus (see Semino and Short, 2004 ) against various samples of the British National Corpus available in Wmatrix ( Rayson, 2009 ), focussing particularly (though not exclusively) on the identification of subordinating conjunctions. We find that, on this measure, there is no basis for claiming that serious fiction is any more complex syntactically than popular fiction. We then investigate the issue in relation to a specific genre of popular fiction, Chick Lit. Here we find that while syn...

[email protected] <Abstract> Using a corpus of popular manga, I analyze how sentence final expressions used in inner speech representing characters' thoughts differ from conversational lines. While all language is often considered to be dialogic, there are many instances where speech is aimed at the speakers themselves, and such self-directed speech appears to have important psychological functions . While thoughts in manga have similarities with Hasegawa's (2010) soliloquies, their use of sentence final expressions differs in important ways from both soliloquies and conversational lines, suggesting that they may further our understanding of interaction, dialogue and language.

This is a work-in-progress study on quantitative authorship attribution of a lesbian writer with more than one pseudonym, being known as both James Tiptree, Jr. and Raccoona Sheldon. Alice Bradley Sheldon was a writer who published feminism Scientific Fiction stories for almost 20 years. She camouflaged her true identity under a

The present study applies some of the approaches used in corpus stylistics to examine repetition in John Irving’s novel A Widow for One Year and its translations into Czech and Finnish. The main aim of this case study is to explore whether systematic identification of repetitive textual features in a source language may be a beneficial procedure for translators of literary texts. The underlying assumption is that, in their complexity, not all repetitive features are necessarily easily noticeable. Repetitiveness here is identified with cluster and keyword analysis that are subsequently considered in synergy. Relevant translation solutions are examined. Though repetition plays a central role in the novel, translators show a marked stylistic strategy to avoid them. The results of the study suggest that application of corpus tools may help translators to uncover the structure of the text and keep their translation consistent.

Il volume si propone di fare il punto sullo stato di salute di una disciplina il cui tramonto è stato più volte annunciato. In realtà la stilisti-ca prospera, continuando a mostrarsi necessaria per l'analisi e l'interpretazione di tutte le forme del messaggio comunicativo, dalla letteratura al discorso politico, al linguaggio dei nuovi media, o dei giornali. Il panorama inglese è particolarmente fecondo e a par-tire dagli anni Novanta del secolo scorso ha inaugurato una forte dimensione interdisciplinare che consente alla stilistica di ingloba-re nei propri percorsi ambiti e metodi della linguistica, che vanno dalla pragmatica, alla linguistica cognitiva, alla discourse analysis.

Donatella Montini insegna Linguistica in-glese e Storia della lingua alla Sapienza Uni-versità di Roma. Con Carocci editore ha già pubblicato The Language of Fiction (2007).

This book offers a comprehensive linguistic analysis of contemporary US television series. Adopting an interdisciplinary and multimethodological approach, Monika Bednarek brings together linguistic analysis of the Sydney Corpus of Television Dialogue with analysis of scriptwriting manuals, interviews with Hollywood scriptwriters, and a survey undertaken with university students about their consumption of TV series. In so doing, she presents five new and original empirical studies. The focus on language use in a professional context (the television industry), on scriptwriting pedagogy, and on learning and teaching provides an applied linguistic lens on TV series. This is complemented by perspectives taken from media linguistics, corpus linguistics and sociocultural linguistics/sociolinguistics. Throughout the book, multiple dialogue extracts are presented from a wide variety of well-known fictional television series, including The Big Bang Theory, Grey's Anatomy and Bones. Researchers in applied linguistics, discourse analysis, critical discourse analysis, corpus linguistics, sociolinguistics and media linguistics will find the book both stimulating and unique in its approach.

This study seeks to use corpus stylistic methods for the analysis of Jack London’s 1903 novel The Call of the Wild using some of the foremost literary criticism on the writer in order to structure this examination. Earle Labor (1994), London’s biographer and arguably the author’s most prevalent living scholar, maintains that he is the subject of ‘persistent neglect by the academic critics’ (xiii). This under-examination has partially inspired this investigation with the hope that using a more contemporary method of analysis might give a more accessible critical reading of ‘the most flamboyant literary representative of the Strenuous Age in America’ (Labor, 1994:xiii).

This paper addresses both stylistic analysis and literary appreciation. It is a qualitative quantitative approach where content words like nouns, adjectives and verbs are harnessed to be analysed for proving the research question. This research paper is beneficial for corpus and stylistics students and researchers.

La poésie d'Apollinaire est placée sous le signe de la discontinuité, de l'hétérogénéité, du morcellement. L'écriture poétique apollinarienne se donne, à travers les différents recueils, comme un « style en mouvement 1 », un matériau plastique et malléable, en quête d'une perpétuelle réorganisation pouvant prendre la forme de la réécriture, de la conversion d'écrits de prose en poésie, voire du collage. Celle-ci alimente, selon Jean Burgos, la construction d'un puissant imaginaire, mû par « une attirance profonde pour la vision morcelée du monde et des choses 2 ».

The issue of choosing language data on which synchronous linguistic research is being done appears in many ways not only to be relevant to the goal of the research, but also to the validity of the research results. The problem which particularly concerns us here is the discrepancy between speech on the one hand and written language on the other. In this context, we have often encountered in the past a situation where the result of the research conducted on a variety of the Chinese language has been generalized to the entire synchronous state of the language, i.e. to all other varieties of the language, while ignoring the mentioned discrepancy between the spoken and written forms. The discrepancy between the spoken and written forms is likely to be present in any natural language with a written tradition, but the degree of difference between languages is uneven: e.g. compared to the Slovak language, it may be stated that the situation in Chinese is in this respect extraordinary. 1 Nevertheless, it is surprising that the quantitative (qualitative) research on discrepancies between different varieties of the language has not yet aroused the attention of Chinese linguistics to such an extent as would have been adequate for the unique situation of this natural language. 1 The degree of non-correspondence between written language and speech across languages is determined by many factors. One of them, certainl y, is the unequal extent of a written tradition.

This paper explores keywords, key part-of-speech categories and key semantic categories and their role in text analysis. The first part of the paper addresses a set of issues relating to the definition of keywords and their history, the settings used in deriving keywords, the choice of reference corpora, the different kinds of keyword that emerge in one's results and the dispersion of keywords in one's data. It argues, amongst other things, that keywords are the same as style markers, and that three types of keyword can be identified: interpersonal, textual and ideational. The second part of the paper addresses the question of what precisely is to be gained from analysing key part-of-speech or key semantic domains in addition to keywords. It shows that whilst in general they add little to a keyword analysis, which is in any case methodologically more robust, there are some significant specific benefits. Answers to many of the questions posed in this paper are illustrated by a study of character-talk from Shakespeare's play Romeo and Juliet, and in this way this paper also makes a contribution to the fledging field of corpus stylistics. Keyword analysis has a relatively recent history, though it is rapidly gaining steam: for example, Tribble (2000) examines Romantic fiction, newspaper political correctness discourse, Baker (2004) gay and lesbian texts, and spoken and written discourse (see also the papers in Archer forthcoming). Mike Scott's own publications, as well as those of many other authors, can be found in Mike Scott's comprehensive bibliography available at: http://www.lexically.net/publications/publications.htm. The concept of a keyword, a word that is statistically characteristic of a text or texts, is certainly not new, having a history of at least 50 years and embryonic keyword analyses were being conducted at least 20 years ago, as section 2 of this paper will elaborate. What is notably different for more recent times is the advent of computer programs (especially Mike Scott's WordSmith Tools, 1996-2008) that perform the required analysis. It is now a relatively easy and rapid task for a researcher to calculate the incidences of each and every single word in the target data as well as a comparative data set, undertake statistical comparisons between incidences of the same words in order to establish significant differences, and finally see the resulting keywords ranked according to degrees of significance of difference. The relative ease and speed of the analytical task is also apparent when one considers other methods designed to reveal styles. Using data comprising three genres (conversation, monologic speech and academic prose), Xiao and Mcenery (2005) compared a multi-dimensional analysis of the type conducted in Biber (1988) with a keyword analysis. The results they obtained were 'similar' (2005:76) for both methodologies, but keyword analysis was 'less demanding ' (2005: 77), for the reason that multidimensional analysis first involves some relatively complex algorithms for the extraction of This si the final draft of: Culpeper, Jonathan (2009) Keyness: Words, parts-of-speech and semantic categories in the character-talk of Shakespeare's Romeo and Juliet. International Journal of Corpus Linguistics 14(1): 29-59. It may contain minor errors and infelicities. 2 certain grammatical features from the corpus, and then relatively complex statistical analysis. However, perhaps as a consequence of the ease and rapidity of keyness analysis, some studies perform a keyword analysis in a relatively mechanical way without a critical awareness of what is being revealed or how it is being revealed. The first part of this paper addresses a set of questions relating to keywords, and in so doing aims to raise that awareness. More specifically, it aims (1) to clarify and contextualize the concept of a keyword, (2) to review the role of the statistical settings and reference corpora used in deriving keywords, and to investigate keyword results, proposing that three different kinds of keyword can emerge and also briefly noting the importance of the dispersion of keywords in one's data. The second, somewhat longer, part of this paper investigates the extension of the notion of keyness to part-of-speech tags and semantic domain tags. Recent developments, most notably Paul Rayson's web-based suite of tools constituting WMatrix (Rayson 2005, forthcoming;; see also http://ucrel.lancs.ac.uk/wmatrix), have enabled users relatively easily and rapidly to annotate their data sets for both grammatical and semantic categories, and then to identify which categories are key. Recent studies include: Jones et al. , focussing on key part-of-speech categories in a spoken corpus of English for Academic Purposes, Afida , focussing on semantic domains in business English, and Archer et al. , focussing on semantic domains in Shakespeare's plays (for further references, see http://ucrel.lancs.ac.uk/wmatrix). The particular question this part of the paper addresses is precisely what do such studies gain from extending keyness analysis to grammatical or semantic tags. Of course, there are important methodological and theoretical debates regarding the value of annotation. Sinclair (e.g. 2004), for example, is a notable exponent of the view that we should "trust the text" and not sully it with annotations, the analyst's interpretative categories. Instead, of condemning such annotation at the outset, this paper takes a more empirical approach by examining the results of such analyses. The three analyses (keyword, key part-of-speech tag and key semantic domain tag) were repeated on the same data. Each and every resulting key item was checked manually, including all items constituting categories, in order to assess whether that item accounted for a textual pattern or style that had or had not been accounted for in the other analyses (and also, in the case of the grammatical and semantic analyses, whether that item was simply a tagging error). Rayson (2004, forthcoming) argues for conducting key part-of-speech and semantic domain analyses in addition to keyword analyses, because the former gives rise to analytical categories that (1) are fewer than keywords, thus reducing the number of categories a researcher needs to take into account, and (2) group lower frequency words which might not appear as keywords individually and could thus be overlooked. The first point is pitched as a repost to Berber Sardinha's (1999) criticism of keyword analyses, namely, that they deliver more keyword results than is possible for the researcher to analyze. However, another way of partially dealing with this problem is simply to change the keyword settings so that fewer keywords are derived (see section 3). The second point raises a more fundamental issue. However, it is not clear how much of an issue this is: how often do groups of lower frequency words which would not appear independently as keywords emerge? Rayson (forthcoming) does not display all the items that constitute the part-of-speech or semantic categories, so one cannot tell the extent to which they overlap with keywords. The second part of the paper aims at such detailed consideration and comparison of what each analysis reveals, and also suggests why differences emerge. 3

While popular fiction has been amply discussed by literary critics and cultural studies scholars, the language of popular fiction has been relatively under-researched. Recent work in stylistics (see, for example, Mahlberg and McIntyre 2011, Montoro 2012) has begun to build on early studies by scholars such as Nash (1990). I investigate the commonly held assumption that writers of popular fiction are less linguistically versatile than literary authors and that this is likely to be reflected in the syntactic structures of their writing. Elsewhere, Montoro and McIntyre (2019) have tested this hypothesis by looking at subordinating conjunctions as markers of complexity and by considering whether these are more prevalent in serious fiction than in popular fiction. Montoro and McIntyre (2019) conclude that serious fiction cannot be said to be more syntactically complex on the basis of that measure alone; instead, syntactic complexity appears to be realised at phrasal rather than clausal level. In this paper, I further that investigation by analysing two corpora which prototypically illustrate genres associated with popular fiction: Chick Lit and Vampire literature. I expand the analysis by Montoro ad McIntyre (2019) and focus on the Noun Phrase to further test the premise that syntactic complexity works at phrasal rather than at clausal level.

Hassan Haidary (Corresponding Author) Department of Persian Language and Literature Faculty of Literature and Foreign Languages, Arak University, Arak Iran Reza Taghizadeh Department of Persian Language and Literature Faculty of Literature and Foreign Languages, Arak University, Arak Iran ABSTRACT Studying the stylistic aspects of literary works in fact began since the Safavid dynasty, when many biographers in Iran and in India attempted to study and criticize the poems of Iranian and Indian poets. Although biographers were more or less studying the stylistic issues from earlier periods, they were not deeply involved and mainly attempted to criticize the works. This study concerns to determine to what extent the biographers in the past have addressed and studied stylistics in its current meaning. The study has employed the stylistic approach to literary works proposed by Cyrus Shamisa in his book General Stylistics including linguistic (at phonological, lexical, and syntactic levels...

This study explores transitivity in the novel “To the Lighthouse” (1927) by Virginia Woolf as one of the methods of clause analysis in the ideational meta-function of language. The transitivity analysis was carried out by using AntConc 3.5.7 corpus analysis tool software, through which the text of the novel was first tagged and then analysed. This was clause analysis and all the types of processes, participants and circumstances were investigated. The research is for language researchers to analyse and interpret text of different genres of literature.

Social roles for men and women are often perceived to be pre-determined in the Early Modern period, and literary criticism is grounded within these assumptions. I suggest that literary representation of men and women are dependent upon underlying linguistic structures and patterns
that would not necessarily be noticed by human readers. Computers are ideal for finding such patterns: traditional
methods of literary analysis are often blind to such structures. Through a combination of multiple corpus-driven tools, I investigate grammatical possession (his/her +NP) in a comparative study of two contrastive Shakespeare plays:
Macbeth and The Merry Wives of Winsdor.
Macbeth focuses heavily on issues of masculinity; it is presented in contrast to The Merry Wives of Windsor, a play focused entirely on women. I suggest that specific collocational patterns for male and female characters are comparable
across two very contrastive plays. The representation of men and women in these two plays are not always consistent with
a literary critic’s unde rstanding of gender
in these texts. I suggest that these grammatical structures inform the roles that men and women of these plays fulfill, which are then manifested in a literary understanding of the text.

The article presents an investigation of semantic and information structures; the former mainly characterises style (of a writer, a cyclus or a single piece of work), and the latter
refers to the content of the work and/or cyclus. Based on computational experiment and experiments with informants, the research allows us to characterise formally Nikolai
Gogol’s works. Particular attention is given to interaction and intersection of information and semantic structures – phenomena, distinguishing fiction from highly informative
text genres (scientific papers and news).

By MTHIKAZI ROSELINA MASUBELELE
Summary -- While translation can be studied with a view to throwing light on a number of aspects in life, in this thesis translation has been researched with a view to outlining the development of written Zulu from its earliest stages, using twelve texts of the Book of Matthew. The Book of Matthew has been chosen in this undertaking because it was the first book of the Bible to be translated into Zulu and was thought to be the most apposite instrument with which the development of written Zulu could be measured. The polysystem theory and the descriptive
approach to translation studies are the theoretical models that inform the arguments presented in this study. Polysystem theory sees translated literature as a system operating in the larger social, literary and historical systems of the target culture, while with the descriptive approach translations are regarded as facts of the target culture. Against this premise the focus of this study is mainly on the twelve translations of the Book of Matthew and no comparisons between
source and target texts are undertaken here. Corpus-based research provided tools such as WordSmith Tools 3.0 for linguistic analysis. Biblical texts were obtained, scanned and presented in electronic format ready to be analysed. From the findings drawn, written Zulu developed all the way through Bible translation, with some translations revealing slight developments and others showing enormous ones. As the findings of this study reveal, Zulu developed gradually, as evidenced by the change to conjunctive writing which occurred over a considerable period, along with the appropriate representation of Zulu speech sounds and grammar conventions. It could also be established at what point during the development of the language, processes such as consonantalisation and palatalisation were introduced into the written language. It is also clear that words of Greek and Hebrew origin were brought into the Zulu language through Bible translation. Furthermore, this study demonstrates that it is feasible to use
corpus-based research for analysis in the indigenous languages of South Africa.
(This dissertation was made available at the following website: http://uir.unisa.ac.za/bitstream/handle/10500/1149/thesis.pdf?sequence=1)

I verify a chronology in which seven groups of passages represent consecutive phases. A proposed chronology is verified if independent markers of style vary over its phases in a smooth fashion. Four markers of style follow smooth trajectories over the seven phases: The first is average verse length. The second encompasses the 28 most common morphemes in the Qurʾān. The percentages of these morphemes in a text constitute its stylistic profile. The thus-defined stylistic profile is shown to vary in a smooth fashion over "time", i.e. over the proposed chronological sequence of phases. Third, a similar thing holds for a profile based on the frequencies of 114 other common morphemes. Fourth, similar results are obtained for a list of 3693 relatively uncommon morphemes. In addition to establishing a relative chronology in seven phases, this essay demonstrates the stylistic unity of many large passages. It also shows that the Qurʾān has one author.

This thesis takes three major claims made by literary scholars about Shakespeare’s use of language regarding issues of social identity. Each chapter introduces a critical perception of Shakespeare’s language - madness (Neely 1991), whorishness (Stanton 2000, Stallybrass 1986, Newman 1986) and questions of race, ethnicity and nationality (Loomba 2000, Hall 1992) – and applies a quantitative approach to the claims they raise. In doing so, I illustrate how digital resources such as the Historical Thesaurus of the Oxford English Dictionary (Kay et al 2015), the Folger Digital Texts (Mowat, Werstine, Niles and Poston 2014) and corpus analysis software including AntConc (Anthony 2014) and Ubiqu+ity can be applied to a closed-set collection of plays understood to be written by Shakespeare (Wells and Taylor 1987, 109-134) to test claims laid out by literary critics. This thesis therefore shows how quantitative evidence can lead to a more complex and robust analysis of Shakespeare’s language than qualitative evidence is able to.

The current study was based on the theory of Halliday's Systemic Functional Linguistics (SFL) (2014), which seeks language and its grammar as a meaning-making resource. Halliday (2014) distinguished three metafunctions, one of them is the ideational function which further involved transitivity system. Transitivity is specifically known as one of the methods of clause analysis which involved three components; participant, process, and circumstance. The research was confined to analyse the participants, process with their sub-types, and circumstances that occur in the clauses as well as to determine the dominant elements of transitivity. The purpose of the research was to explore the ideational or experiential meanings and it was delimited to corpus-based transitivity analysis to unfold human experiences and world view of personas in the narrative text of 'Kew Gardens' (1919; 1921) by Virginia Woolf. The study aimed to explore the literary style of narrative text written in stream of consciousness (SOC) technique by Woolf. Moreover, the research was based on corpus-based methodology. Quantitative data included the statistics, frequencies and percentages while qualitative data involved the interpretation of the results and facts. Corpus collection included the narrative fiction 'Kew Gardens'. The analysis was conducted with the use of UAM corpus tool developed by O'Donnell (2009). The text file was first incorporated and then analysed through the tool by creating the annotation layer. The tool represented the statistics after annotation of the text. The total number of segments was 1214, words in segment were 7680, and tokens in segment were 8408. The result of analysis was quite significant. The research will be substantial for stylisticians and language researchers to analyse and interpret literary styles of different genres in literature.

Contemporary Stylistics presents the current state of the integrated study of language and literature. From its emergence as an interdisciplinary blend of literary criticism, linguistics, psychology, cognitive science, social studies and philosophy, stylistics is now a mature and vibrant single discipline, with a confident new generation of researchers engaged in the proper study of literature. This book collects some of these new voices together for the first time, and presents their latest work in a form that is accessible and placed into context. The book includes specific introductions to each piece of work by an established figure in stylistics. Taken together, the book offers a comprehensive showcase for the range of approaches and practices which form modern stylistics: from cognitive poetics to corpus linguistics, from explorations of mind style and spoken discourse in narrative to the workings of viewpoint in lyric poetry, from word meanings to the meanings and emotions of literary worlds, and more.

The language of news headlines requires that the specific meaning being
constructed is without ambiguity, and thus be clearly identifiable by the
readers. But ambiguity and meaning-making are so related that the former is,
to a varying degree, almost always present in news headlines, given a number
of linguistic and non-linguistic factors influencing the writer, reader, and the
language at hand (Hirst, 1987, Akinlotan 2018d, Eckert 2018). This study shows
(1) the extent to which ambiguity is present in online Nigerian newspaper
headlines; (2) the linguistic nature of the ambiguity, and (3) how a total of 14
linguistic predictors clearly show where we might find ambiguous headlines,
the nature of the ambiguity, and the different scenarios characterising (1) and
(2). A total of 14 predictors is investigated on the basis of over a thousand
news headlines extracted from a Nigerian national newspaper, The Punch,
showing that ambiguity has a likely incidence of 22%. Of the ambiguous
proportion, 47% is lexically-motivated while 53% is structurally motivated.
A logistic regression shows a combination of factors including animacy and
structural complexity as important predictors showing the nature and where/
when we might find (non) ambiguous news headlines.

Keywords: ambiguity, construction, Nigerian English, linguistic variable,
meaning, corpus pragmatics, news headlines

In this paper our focus is on analyzing register variation within fiction, rather than between fiction and other registers. By working with subcorpora that separate text within and outside of quotation marks, we appromixate fictional speech and narration. This enables us to identify and compare linguistic features with regard to different situational contexts in the fictional world. We focus in particular on the novels of Charles Dickens and a reference corpus of other 19th-century fiction. Our main method for the register analysis is Multi-dimensional Analysis (MDA) for which we draw on altogether four dimensions from two previous MDAs. The linguistic distinctions we identify highlight similarities between fictional speech and involved registers such as face-to-face communication, and between narration and more informational and narrative prose. In addition to the detailed information on register features that characterize speech and narration, the paper raises more general questions about the ability of register studies to deal with situational contexts within fiction.

In this article I explore the potential of a corpus stylistic approach to the study of literary translation. he study focuses on translation of children's literature with its speciic constrains, and illustrates with two corpus linguistic techniques: keyword and cluster analysis—speciic cases of repetition. So in a broader sense the article discusses the phenomenon of repetition in diferent literary (stylistic) traditions. hese are illustrated by examples from two children's classics aimed at two diferent age groups: the Harry Potter and the Winnie the Pooh books—and their translations into Czech. Various shits in translation, especially in the translation of children's literature, are oten explained by the operation of so-called " translation universals ". hough " repetition " as such does not belong to the commonly discussed set of translation universals, the stylistic norms opposing repetition seem to be a strong explanation for the translation shits identiied.

The aim of this issue of is to bring together investigation into the lexicon in a variety of languages, in a diversity of manifestations – both at the word level and beyond the word level – and from a variety of perspectives, including not only those which focus on how the vocabulary is internally organized, but also those which deal with the role that lexical units and lexical relations play in the organization of other language levels, particularly in the organization of the discourse. These issues are approached from a variety of perspectives that include not only developments in several disciplines of theoretical and descriptive linguistics, particularly in lexicology, phraseology, word formation, discourse analysis, but also in diverse applied disciplines such as translation, foreign language teaching, English for specific purposes and critical discourse analysis. One of the criteria employed in the compilation of the volume was also the coverage of linguistic diversity. In total, six different languages are investigated in the studies selected in this volume: English, German, Spanish, French, Portuguese, Italian. Without claiming exhaustiveness, we consider that the variety of contributions presented here offers an insight into the vigour of current corpus research into phenomena related to the lexicon. Admittedly, the full range of topics, approaches and methodologies developed in this area of research could not fit in a single volume, but a careful selection of studies representing a variety of interesting advances can be representative of significant developments taking place in the field.

This research investigates the effects of intralingual (or same language) subtitling on characterisation, with a specific focus on the AMC drama, Breaking Bad. A corpus-stylistic approach was used, with a focus on several characters.

Corpora of the subtitle track to the third season were compared with similar corpora containing the transcribed speech of the same season, in order to generate data which could then be compared. Sub-corpora were also created for the eight individual characters chosen to research.

In order to investigate the stylistic side of the research, Jonathan Culpeper’s triggers of characterisation were utilised, and Paul Rayson’s Wmatrix corpus software was then used to identify statistically significant words and domains. This list was compared against the statistics produced by Wmatrix in order to understand their significance, if any.

The differences and similarities between the subtitle corpora and the spoken corpora for each individual character were investigated, as well as more general trends which were shown to occur throughout all of the data.

The DOCS bibliography contains publications (including PhD theses) directly related to the use of corpora and corpus linguistic techniques in discourse studies – or, seen from a different perspective, corpus studies focusing on discourse issues. The approach may be ‘corpus-based’, ‘corpus-driven’ or ‘corpus-assisted’ (to the extent that these distinctions are useful or, indeed, meaningful), and the analysis itself can be ‘critical’ or otherwise (again, the same reservations apply). There are no restrictions regarding language. Whatever the label attached to their approach, publications are relevant when they …
• report on research using corpora and corpus techniques to examine discourse meaning/style and/or particular discourses, or
• discuss the compilation of corpora, or the development of corpus metrics/techniques, for discourse studies.

Please note that studies focusing on discourse or lexicogrammatical features/patterns are relevant here only if they explicitly discuss how these features/patterns contribute to discourse meaning or style, or to the creation of particular discourses.

The publications are ordered chronologically, starting with a list of introductions and overviews. I opted for a chronological order, because it helps provide a sketch of beginnings and developments in terms of the focus and methodology of discourse-oriented corpus studies and the volume of publications. For example, it can be seen that attention to discourse features dates back to the beginnings of corpus linguistics. Also, the beginning of the approach often referred to as ‘critical discourse studies’ can be traced back to Leech & Fallon (1992), which also seems to be the first study to use an exploratory keyness analysis — four years before the terms keyness and keyness analysis  were introduced.

本文以CSSCI期刊与SSCI、A&HCI的翻译学研究文献为数据来源，运用文献计量的方法，绘制该领域的科学知识图谱，考察国内外翻译研究的发展脉络和热点前沿，旨在回答（1）国内外翻译研究的主要学术期刊阵地布局如何？期刊之间的研究倾向有何质化量化区别？（2）国内外高产作者和科研机构具有什么样的特色？（3）国内外翻译研究热点在1995-2015年期间经历了哪些历时变化？以期能够对国内同行更有针对性地参与学术对话和国际访学提供一定的借鉴和参考价值。


[Abstract]:Based on the bibliometric analysis from translatology journals from both Chinese Social Sciences Citation Index (CSSCI) and Social Sciences Citation Index (SSCI), this paper attempts to depict the knowledge vault and theoretical networking of translation studies in order to track the research development at home and abroad and predict the possible prospective topics. To be specific, there are three questions to be explored: 1. the layout and preference of international journal of translation studies; 2. the distinguishing characteristics of global prolific researchers and institutions; 3. the primary diachronic changes in translation studies between 1995 and 2015 at home and abroad.
[Keywords]: translation studies; translation criticism; knowledge vault; translation theory; literature review

This study primarily attempts at examining the mind style of the leading character in the 1997 film As Good as It Gets performed by Jack Nicholson as Melvin Udall, a novelist who is characterized as a misanthrope, and suffers from obsessive-compulsive disorder (OCD). The main aim of this paper is to examine the mind-modeling of the character's mind for his unique odd mind style. This can be achieved by applying both qualitative and quantitative methodologies. The adopted methodology is based basically on McIntyre and Archer (2010) and McIntyre (2015); it shares some of the perspectives that require using Wmatrix (Rayson, 2008) to perform the quantitative analysis in order to validate the qualitative data. However, this study, does not aim to measure consistency. This paper aims at: first, verifying the usefulness of one of the corpus tools in understanding the deviant mind of the character. Second, analyzing key semantic domains of the speech of the main character as well as the keywords used by him. In addition to that, the researcher tries to benefit from cognitive linguistics schema theory in understanding the odd mind style of the character.

This article focuses critically on the linguistic-stylistics’ uses of art and craft of sprung rhythm in the poetry of Gerard Manley Hopkins. The efforts of researchers define and describe the technicalities of sprung rhythm adequately, and analyze scientifically that how the linguistic- stylistics plays a vital role in the semantic orders and syntactic structure which followed in the queued lexical and figure of speeches together even in the small verse lines which illustrated it from specifically in case of his popular sonnet, The Windhover. Hopkins coined two terms – inscape, and instress to produce his theories of what organized poetry for the theological belief. However, Hopkins looks like especially charmed to use the compound, special, and coined words and the parallels of thought in the fusion of the figure of speech - metaphor, simile, antithesis, alliteration, assonance, consonance, imagery, personification, and symbol in the repeating patterns of rhythm and rhyme to connect together in the sounds and the unique sense in the innovative stylistic art and craft texture of sonnet, The Windhover.
APA Citation-
Yadav, M. S., Yadav, M. K., Quadri, K. M. (2021). Stylistics Art and Craft of Sprung Rhythm in G. M. Hopkins’ The Windhover. Psychology and Education, 58(2), 9741-9751. Retrieve from http://psychologyandeducation.net/pae/index.php/pae/article/view/3829

This chapter analyses characterization through television dialogue, using a corpus stylistic (Wynne 2005) approach, in particular using key word and cluster analysis . The focus is on exploring from a linguistic perspective the assumption made in Media/Television Studies that televisual characters are relatively stable, i.e. that they do not change drastically : 178, Pearson 2007. In a case study of the dramedy (comedy-drama hybrid) Gilmore Girls (Warner Brothers, 2000, I analyze the in/stability of the televisual character with respect to two main aspects: (1) How much does a character's language vary diachronically (across seasons)? (2) How much does a character's language vary according to who s/he is talking to? The corpus stylistic analysis thus explores the degree of diachronic and intersubjective stability in televisual characters. The findings are discussed in terms of characterization in the analyzed series, the nature of televisual data and narrative, the mainstream nature of TV series, and audience engagement with TV characters.

This thesis is an investigation into the style of one of Australia’s greatest contemporary literary exports: Peter Carey. Carey is an acclaimed writer of fiction and is best known as an award-winning novelist, but before his first novel was published in the 1970s, he achieved international recognition as a writer of short stories. The stories were received well by critics, but were largely overshadowed by his subsequent novels. Although a considerable amount of critical attention has been paid to his stories over the years, there still remains much to say about their style and meaning: namely the ways in which their imaginative, anti-realist devices articulate fictional truth. Taking as my point of departure the insights and opinions of traditional literary critics, I argue that Carey’s short stories, as seen through the lens of social-semiotic stylistics, articulate a special form of truth which provokes the reader to imagine new possibilities. This questioning of reality is shown to be a central preoccupation in his stories by using a variety of linguistic methods to make explicit their verbal texture.

The purpose of this PhD dissertation is to analyze Charles Dickens’ use of speech verbs in his fourteen major novels (c. 3.8 million words). Apart from their basic function as speech-introducing verbs, they can also contribute to characterization. This additional stylistic function is explored here. In order to do so, a corpus stylistic approach has been adopted, which has allowed the retrieval of 17,021 tokens of 130 different types. In the first stage of the analysis, the relevance of this stylistic phenomenon is investigated against the backdrop of a reference corpus (c. 12.9 million words) consisting of seven different Victorian authors: Charlotte Brontë, George Eliot, Elizabeth Gaskell, Thomas Hardy, George Meredith, William Thackeray and Anthony Trollope. Subsequently, Dickens’ use of speech verbs is analyzed from different perspectives. Firstly, a general analysis looks into aspects such as the distribution of verbs in the corpus, those most frequently used in each novel, those associated with a single character in one novel or even those associated with only one character in the fourteen novels, among others. Secondly, Dickens’ use of speech verbs is analyzed according to gender. Indeed, there are verbs which introduce either men’s or women’s words exclusively. As will be seen, this set of gender-specific verbs reveals a striking contrast when reporting male and female discourse, which contributes to portraying men and women in completely different ways. Also, speech verbs are examined according to the narrators that tell the stories, for there exist significant differences between the voices used by Dickens to narrate the novels. The catalogue of speech verbs used by the narrators that take part in the stories is different from the one used by the narrators who do not play a part in it —both choices affecting the way in which characters are depicted. Finally, Dickens’ use of speech verbs is analyzed from the point of view of the original serialized publication of the novels. Indeed, publishing in installments influenced Dickens’ style, which, in terms of speech verbs, resulted in specific choices used to gloss characters’ words when, for example, they reappear after some installments —weeks or even moths— out of the story. The use of specific speech verbs helps readers to recall characters after these time gaps. In sum, the analysis of speech verbs from these viewpoints will demonstrate the stylistic role of this element in Dickens’ novels, thus revealing another relevant feature among his well-known techniques of characterization.

This study aims at analyzing a selected poem "A Herbal" written by one of the greatest poets of the twentieth century; Seamus Heaney. The methodology is a corpus-based one. Using the tools of the computer to analyze and interpret poetry allows readers/ researchers to examine to what extent technology can bring the attention to crucial details that might be missed by human manual analysis. This does not imply that the later analysis should be neglected, but to emphasize employing both of the analyses to reach much more reliable results. In short, this study is qualitative and quantitative in nature. This study has a great importance. There is an attempt to fill a gap in the area of analyzing poetry using corpus stylistics. As a matter of fact, few works are conducted by using corpus stylistics to examine poetry. The findings show how important to apply both quantitative and qualitative analyses to interpret and study literary texts. Relevantly, it can provide researchers with a better understanding of the themes, keywords, and the style of language. The obtained results have an objective trait. To put it differently, the data is examined by computational tools, here, WebCorp Live and Wmatrix, then the data is scrutinized in terms of manual study. In fact, this work demonstrates the importance of interdisciplinary work, here humanities (linguistics) and computer studies. The results reflect the importance of using technology to study literary texts.

John Fowles's The Magus was first published in 1966. He then revised and republished it in 1977. My doctoral research is a comparative stylistic analysis of the two editions of the novel. In this paper, I will explore (i) what differences there are between the two versions by using particular corpus techniques on them and (ii) to what extent stylistic investigation and corpus techniques can be usefully combined.