1,720,967 research outputs found
Replication Data for: Representing Race and Ethnicity in American Fiction: 1789-1920
No full textAll R code for replicating the tables, results, and graphs in "Representing Race and Ethnicity in American Fiction". Code is separated into three different files for a) deriving distinctive collocates from a set of text files, b) creating t-sne visualizations of high dimensional word cooccurrence data, and c) assessing internal and external coherence of collocates based on assigned targets and groups. Also included is the complete list of collocates for both the Gale American Fiction corpus as a whole, as well as the same corpus divided into 25 year windows. The original target list can be found embedded in these tables (which show the strength of association between collocate and target). PLEASE NOTE CONTENT WARNING: while the text of the paper has been edited to remove offensive and harmful language, we present the background data for replication purposes "as-is" based on the language of the original novels themselve
What's that Scary Sound? Ambient Sound in Gothic Fiction
No full textThis paper presents an approach to operationalizing ambient sound as a literary phenomenon. To illustrate the importance of the ambient soundscape in literary studies, we both manually and automatically detect ambient sound markers and use these annotations to analyze a sample of nineteenth-century English novels and short stories. Our hypothesis is that descriptions of a story’s ambient soundscape can be associated with specific genres, and is, for example, a hallmark of Gothic novels. We use a classification approach based on a state-of-the-art transfer learning algorithm and a domain-dependent fine-tuned BERT model for English to automatically detect word-level sound indicators and compare their occurrence over the course of the fiction and with a comparative view on our corpus texts
Between canon and corpus: six perspectives on 20th-century novels
No full textOf the many, many thousands of novels and stories published in English in the 20th century, which group of several hundred would represent the most reasonable, interesting, and useful subset of the whole
What's that Scary Sound? Ambient Sound in Gothic Fiction
Full text linkThis paper presents an approach to operationalizing ambient sound as a literary phenomenon. To illustrate the importance of the ambient soundscape in literary studies, we both manually and automatically detect ambient sound markers and use these annotations to analyze a sample of nineteenth-century English novels and short stories. Our hypothesis is that descriptions of a story’s ambient soundscape can be associated with specific genres, and is, for example, a hallmark of Gothic novels. We use a classification approach based on a state-of-the-art transfer learning algorithm and a domain-dependent fine-tuned BERT model for English to automatically detect word-level sound indicators and compare their occurrence over the course of the fiction and with a comparative view on our corpus texts
The Sonnet Stretcher
No full textAbstract of paper 0775 presented at the Digital Humanities Conference 2019 (DH2019), Utrecht , the Netherlands 9-12 July, 2019
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
The Sonnet Stretcher
No full textAbstract of paper 0775 presented at the Digital Humanities Conference 2019 (DH2019), Utrecht , the Netherlands 9-12 July, 2019
Acts of Aesthetics: Publishing as Recursive Agency in the Long Eighteenth Century
No full textOf primary concern to late eighteenth-century society was the sheer volume of printed work being produced in England. The response of authors troubled by this perceived crisis was an outpouring of works on taste, aesthetics, genre and literature, which attempted to describe and provide corrective solutions to the problem of over-publication. Yet this response itself, of course, only added to the number of works within Britain. How did the solution to a deluge of print become more printed materials? Did these authors envision print’s agency as a self-corrective process? And, if so, how can we recover and perhaps even model the connections between works that encompassed the responses to print? This essay outlines a potential solution to this problem by sampling a highly focused selection of digitized texts that raise the issue of over-publication. Through a quantitative analysis of these texts, it identifies the lexical patterns that may reveal the ways in which authors of the period envisioned the work of aesthetics. In particular, this article identifies an emerging consensus on how printed objects became agents within the socio-cultural world of the long eighteenth century: both as objects which could act on readers and as objects which could act on other printed texts. By comparing the language that these clusters of texts deploy to discuss the agency of print to their traditional generic, theoretical or historical groupings, we can begin to examine the process by which the potential power of print became the solution to the dangers it, itself, presented
On paragraphs. Scale, themes, and narrative form
No full textDifferent scales, different features. It’s the main difference between the thesis we have presented here, and the one that has so far dominated the study of the paragraph. By defining it as "a sentence writ large", or, symmetrically, as "a short discourse", previous research was implicitly asserting the irrelevance of scale: sentence, paragraph, and discourse were all equally involved in the "development of one topic". We have found the exact opposite: 'scale is directly correlated to the differentiation of textual functions'. By this, we don't simply mean that the scale of sentences or paragraphs allows us to "see" style or themes more clearly. This is true, but secondary. Paragraphs allows us to "see" themes, because themes fully "exist" only at the scale of the paragraph. Ours is not just an epistemological claim, but an ontological one: if style and themes and episodes exist in the form they do, it's because writers work at different scales – and do different things according to the level at which they are operating
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