By Giuseppina Balossi
This e-book focusses on laptop 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, ahead of conducting 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 constructed by means of UCREL at Lancaster collage. The quantitative research is supplemented via 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 system can also be acceptable to the research of character in non-literary language. The ebook, written in a transparent and obtainable sort, should be of curiosity to post-graduate scholars and teachers in linguistics, stylistics, literary reviews, psychology and likewise computational techniques.
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Extra resources for A Corpus Linguistic Approach to Literary Language and Characterization: Virginia Woolf's The Waves
Until the very last draft, the interludes still followed the soliloquies (Heine 1972: 60–80). They describe the progression of a day from dawn to sunset through an external observer or impersonal narrator. Each interlude is followed by a soliloquy section in normal type; here six individuals are presented (Susan, Jinny, Rhoda, Louis, Neville and Bernard), from childhood to old age, through consecutive utterances in the form of direct speech. 2). A seventh character, Percival, is also present, but he is only ever indirectly presented through the other speakers later on in the story and dies before the end of it.
Forster and Harvey lies in a confusion between character as a function in the text and as the reader’s perception. : 425). M. e. inferencing processes. M. Forster’s sense) on the textual level, but perceived as round on the constructed level and vice versa. : 426–432). Chapter 3. Literature review The importance of Fishelov’s distinction is further underscored by Culpeper (2001: 83–84). e. e. e. 1, for a full illustration of this point). ” An allegorical figure, such as Pity, will be positioned at one extreme point on both the “Complexity” and “Development” axes.
1–2). : 2; see also Margolin 1986: 205–225, 1987: 107–124, 1990: 453–468). The first three terms suggest that character is not a person, but a textual construct or some abstract dimension (“a role”); the last two terms (“individual or person”) highlight the opposite ontological status, its mimetic or human-like properties. Enquiry into the ontological status of character dates back to the Greek philosopher Aristotle (384 BC–322 BC), who in his Poetics, states that “[t]ragedy is an imitation of personages better than the ordinary man” (1902: 57).