67 research outputs found

    The Novel in the Spanish Silver Age

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    What distinguishes an adventure novel from a historical novel? Can the same text belong to several genres? More to one than to another? Have some existing genres been overlooked? To answer these and similar questions, José Calvo Tello combines methods from Linguistics (lexicography), Literary Studies (genre theory), and Computer Science (machine learning, natural language processing). Located in the interdisciplinary field of Digital Humanities, this study analyzes a newly developed corpus of 358 Spanish novels of the silver age (1880-1939), which includes authors like Baroja, Pardo Bazån, or Valle-Inclån. Calvo Tello's key result is a graph-based model of literary genre that reconciles recent theoretical approaches

    The Novel in the Spanish Silver Age: A Digital Analysis of Genre Using Machine Learning

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    What distinguishes an adventure novel from a historical novel? Can the same text belong to several genres? More to one than to another? Have some existing genres been overlooked? To answer these and similar questions, the author combines methods from Linguistics (lexicography), Literary Studies (genre theory), and Computer Science (machine learning, natural language processing). Located in the interdisciplinary field of Digital Humanities, this study analyzes a newly developed corpus of 358 Spanish novels of the silver age (1880-1939), which includes authors like Baroja, Pardo BazĂĄn, or Valle-InclĂĄn. Calvo Tello's key result is a graph-based model of literary genre that reconciles recent theoretical approaches

    A Genre Analysis of Second Language Classroom Discourse: Exploring the Rhetorical, Linguistic, and Contextual Dimensions of Language Lessons

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    The purpose of the present study is to expand our current understanding of second language classroom discourse by exploring how four English as a second language (ESL) teachers working in an intensive English program structurally organize classroom language lessons through the use of language; how students and teachers perceive the functions of the various stages in a lesson; how teachers prepare for their language lessons; and how various discourses and texts in this teaching context influence teachers‘ spoken discourse in the classroom. In order to carry out the exploratory study of language lessons, a multidimensional genre-oriented approach is utilized that is sensitive to both textual and contextual analyses of language lessons. The findings suggest that despite the spontaneous nature of classroom settings and sometimes improvised nature of classroom teaching, experienced ESL teachers have generated and internalized schemata of language lessons, which consists of a stable schematic structure and linguistic patterns that are recognizable by both teachers and students. However, rather than viewing a language lesson as a distinctive genre, the study suggests that it might be described more precisely as a sub-genre of the classroom discourse genre proper that shares broad communicative purposes with other classroom discourse sub-genres, although also maintaining its own distinct characteristics. Further, the analysis indicates that seven resources appear to interact in dynamic, dialogic, and complex ways as experienced teachers set about constructing lessons that are goal-oriented, activity-driven, cohesive, and meaningful for both themselves and their students. Finally, the results demonstrate that experienced teachers integrate various material resources in the classroom that influence their talk; consequently, a language lesson can be regarded as both a process and a product that is highly multimodal, multimedial, and intertextual. The study concludes with implications for genre studies, classroom discourse studies, and second language teacher education, and with suggestions for future research

    A corpus based, lexical analysis of patient information for radiography

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    Despite the importance and the ubiquity of medical patient information in many healthcare systems in the world, we know very little about the lexical characteristics of the register. We do not know how patients perceive the information in the leaflets or whether the messages are transmitted effectively and fully understood. How a medical authority instructs and obliges patients in written information is also unclear. While the number of radiographic examinations performed globally increases year on year, studies consistently show that patients lack basic knowledge regarding the commonly-performed exams and show very poor understanding of the concomitant risks associated with radiation. There is, then, a pressing need to investigate radiography patient information in order to better understand why, and where, it is less effective. This thesis applies three approaches common to the field of corpus linguistics to uncover some of the lexical characteristics of patient information for radiography. The approaches used in this thesis are a keyword extraction, a lexical bundles analysis and an investigation of modal verbs used to express obligation. The findings suggest that patient information for radiography possesses characteristics more common to academic prose than conversation, although the high informational content of the register goes some way to explaining this and suggests that the reliance on these structures may, to a certain extent, be unavoidable. Results also suggest that the reliance on should to oblige and instruct is problematic as it may cause interpretation problems for certain patients, including those for whom English is not a primary language. Certain other characteristics of patient information revealed by the analyses may also cause comprehension, and while further research is needed, none of these characteristics would be evaluated as problematic by standard readability measures, furthering doubts about the suitability of such measures for the evaluation of medical information

    Media Space: an analysis of spatial practices in planar pictorial media.

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    The thesis analyses the visual space displayed in pictures, film, television and digital interactive media. The argument is developed that depictions are informed by the objectives of the artefact as much as by any simple visual correspondence to the observed world. The simple concept of ‘realism’ is therefore anatomised and a more pragmatic theory proposed which resolves some of the traditional controversies concerning the relation between depiction and vision. This is then applied to the special problems of digital interactive media. An introductory chapter outlines the topic area and the main argument and provides an initial definition of terms. To provide a foundation for the ensuing arguments, a brief account is given of two existing and contrasted approaches to the notion of space: that of perception science which gives priority to acultural aspects, and that of visual culture which emphasises aspects which are culturally contingent. An existing approach to spatial perception (that of JJ Gibson originating in the 1940s and 50s) is applied to spatial depiction in order to explore the differences between seeing and picturing, and also to emphasise the many different cues for spatial perception beyond those commonly considered (such as binocularity and linear perspective). At this stage a simple framework of depiction is introduced which identifies five components or phases: the objectives of the picture, the idea chosen to embody the objectives, the model (essentially, the visual ‘subject matter’), the characteristics of the view and finally the substantive picture or depiction itself. This framework draws attention to the way in which each of the five phases presents an opportunity for decision-making about representation. The framework is used and refined throughout the thesis. Since pictures are considered in some everyday sense to be ‘realistic’ (otherwise, in terms of this thesis, they would not count as depictions), the nature of realism is considered at some length. The apparently unitary concept is broken down into several different types of realism and it is argued that, like the different spatial cues, each lends itself to particular objectives intended for the artefact. From these several types, two approaches to realism are identified, one prioritising the creation of a true illusion (that the picture is in fact a scene) and the other (of which there are innumerably more examples both across cultures and over historical time) one which evokes aspects of vision without aiming to exactly imitate the optical stimulus of the scene. Various reasons for the latter approach, and the variety of spatial practices to which it leads, are discussed. In addition to analysing traditional pictures, computer graphics images are discussed in conjunction with the claims for realism offered by their authors. In the process, informational and affective aspects of picture-making are distinguished, a distinction which it is argued is useful and too seldom made. Discussion of still pictures identifies the evocation of movement (and other aspects of time) as one of the principal motives for departing from attempts at straightforward optical matching. The discussion proceeds to the subject of film where, perhaps surprisingly now that the depiction of movement is possible, the lack of straightforward imitation of the optical is noteworthy again. This is especially true of the relationship between shots rather than within them; the reasons for this are analysed. This reinforces the argument that the spatial form of the fiction film, like that of other kinds of depiction, arises from its objectives, presenting realism once again as a contingent concept. The separation of depiction into two broad classes – one which aims to negate its own mediation, to seem transparent to what it depicts, and one which presents the fact of depiction ostensively to the viewer – is carried through from still pictures, via film, into a discussion of factual television and finally of digital interactive media. The example of factual television is chosen to emphasise how, despite the similarities between the technologies of film and television, spatial practices within some television genres contrast strongly with those of the mainstream fiction film. By considering historic examples, it is shown that many of the spatial practices now familiar in factual television were gradually expunged from the classical film when the latter became centred on the concerns of narrative fiction. By situating the spaces of interactive media in the context of other kinds of pictorial space, questions are addressed concerning the transferability of spatial usages from traditional media to those which are interactive. During the thesis the spatial practices of still-picture-making, film and television are characterised as ‘mature’ and ‘expressive’ (terms which are defined in the text). By contrast the spatial practices of digital interactive media are seen to be immature and inexpressive. It is argued that this is to some degree inevitable given the context in which interactive media artefacts are made and experienced – the lack of a shared ‘language’ or languages in any new media. Some of the difficult spatial problems which digital interactive media need to overcome are identified, especially where, as is currently normal, interaction is based on the relation between a pointer and visible objects within a depiction. The range of existing practice in digital interactive media is classified in a seven-part taxonomy, which again makes use of the objective-idea-model-view-picture framework, and again draws out the difference between self-concealing approaches to depiction and those which offer awareness of depiction as a significant component of the experience. The analysis indicates promising lines of enquiry for the future and emphasises the need for further innovation. Finally the main arguments are summarised and the thesis concludes with a short discussion of the implications for design arising from the key concepts identified – expressivity and maturity, pragmatism and realism

    Formulaic sequences in Early Modern English: A corpus-assisted historical pragmatic study

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    This doctoral project identifies formulaic sequences (hereinafter FS and the plural form FSs) in Early Modern English (hereinafter EModE) and intends to investigate the functions they serve in communication and different text types, namely EModE dialogues and letters. Main contributions of the study include, firstly, the study provides solid arguments and further evidence that FSs are constructions in the Construction Grammar instead of exceptions in the traditional grammar-dictionary model. Within this theoreticall framework, I proposed a new working definition of FSs that is inclusive, descriptive, and methodologically neutral. The study also argues that there are fundamental differences between FSs and lexical bundles (LBs), although the latter often treated as an alternative term of FSs or sub-groups of FSs. Nevertheless, after a thorogh review of the characteristics of the two mult-word units, the study argues that despite of the differences, LBs can be upgrated to FSs as long as they fulfill certail sematic, syntactic, and pragmatic criteria. THis forms the fundation of the methodology design of the study. Secondly, the study enhanced the corpus-assisted approach to the identification of FSs, esp. in EModE texts. The approach consists of three steps: preparation, identification, and generalisation. The identification step was further conducted within two phases: automatic generation of LBs for a corpus and manual identification of FSs from LBs. Specifically, in the preparation step, the dissertation critically discussed how spelling variation in EModE texts shall be dealt with in investigations on FSs. I designed a series of criteria for the two-phase identification of FSs. For one thing, I disagree with previous research that two-word LBs shall be excluded from examination by arguing that many of them are formulaic and cannot be captured from longer LBs and the workload of processing the massive number of two-word LBs is actually manageable. For another, the study contributes an easy-to-follow flow chart demonstrating the procedure of the manual identification of FSs from LBs and listing the criteria that guide the decision-making process. Thirdly, the study provides systematic and comprehensive accounts of FSs in EModE dialogues and letters, esp. how their forms are conventionally mapped to their functions. Data analysis were conducted from aspects such as degree of fixedness, grammatical structures, distribution across function categories, multi-functional FSs, genre-specific FSs, etc. General findings suggest that EModE dialogues and letters actually have many similarities regarding the form and function of FSs and general trends of distribution across function categories. However, outstanding differences between the two text types can be observed too. From the perspective of form, the distinction lies in word choice in realisations of certain FSs. From the perspective of meaning/function, the distinction lies in the kinds of functions that need FSs the most or the least and common function combinations. More importantly, the study observed two types of relationships among FSs themselves and the discourse, including horizonal networks and vertical networks, which reflects the complexity of FSs and their identity as constructions. Specifically, three types of horizontal networks of FSs are embedding, attaching, and joining. A pair of new concepts is proposed to describe the vertical networks: superordinate FSs and subordinate FSs. As a result of the vertical networks, three types of functional diviation are observed: function extension, shifting, and specification

    Leveraging Machine Learning to Explain the Nature of Written Genres

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    The analysis of discourse and the study of what characterizes it in terms of communicative objectives is essential to most tasks of Natural Language Processing. Consequently, research on textual genres as expressions of such objectives presents an opportunity to enhance both automatic techniques and resources. To conduct an investigation of this kind, it is necessary to have a good understanding of what defines and distinguishes each textual genre. This research presents a data-driven approach to discover and analyze patterns in several textual genres with the aim of identifying and quantifying the differences between them, considering how language is employed and meaning expressed in each particular case. To identify and analyze patterns within genres, a set of linguistic features is first defined, extracted and computed by using several Natural Language Processing tools. Specifically, the analysis is performed over a corpora of documents—containing news, tales and reviews—gathered from different sources to ensure an heterogeneous representation. Once the feature dataset has been generated, machine learning techniques are used to ascertain how and to what extent each of the features should be present in a document depending on its genre. The results show that the set of features defined is relevant for characterizing the different genres. Furthermore, the findings allow us to perform a qualitative analysis of such features, so that their usefulness and suitability is corroborated. The results of the research can benefit natural language discourse processing tasks, which are useful both for understanding and generating language.This work was supported in part by the Ministry of Science and Innovation of Spain for the project “Integer: Intelligent Text Generarion” under Grant RTI2018-094649-B-I00, and in part by the Generalitat Valenciana through project “SIIA: Tecnologias del lenguaje humano para una sociedad inclusiva, igualitaria, y accesible" under Grant PROMETEU/2018/089

    Hybrids and Fragments: Music, Genre, Culture and Technology

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    Technologies are fundamental to music and its marketing and dissemination, as is the categorisation of music by genre. In this research we examine the relationship between musical genre and technology by examining genre proliferation, fragmentation and hybridity. We compare the movement of musical artists between genres in various technological eras, and evaluate the connections between the dissemination of music and its categorisation. Cultural hybridity and fragmentation is thought to be the norm in the globalised era by many scholars, and the online music environment appears to be populated by hybrid genres and micro-genres. To examine this we study the representation of musical genre on the Internet. We acquire data from three main sources: The Echo Nest, a music-intelligence system, and two collectively constructed knowledge-bases, Wikidata and MusicBrainz. We discover geographical and commercial biases. We calculate genre inception dates in order to examine category proliferation, and construct networks from these data, using the relationships between artists and genres to establish structure. Using network analyses to quantify genre hybridity we find increasing hybridisation, peaking at various periods in different datasets. Statistical analyses, comparing hybridity within our various data, validates our method and reveals a relationship between the activity of editing music information and the movement of musical artists between musical genres. We also find evidence for the fragmentation of genre and the appearance of micro- genres. We consider artists that are invisible in mainstream systems using data from three alternative platforms, Bandcamp, CD Baby and SoundCloud, and examine rapid genre proliferation in Spotify. We then discuss hybridity and fragmentation in relation to postmodernity, hypermodernity and unimodernity, music and genre within society, and the ways genre intersects with technology

    Genre, schema, and the academic writing process : an enquiry into the generalisability of generic structure and its relationship to schematic knowledge.

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