By Giuseppina Balossi
This publication focusses on laptop methodologies as a fashion 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, prior to undertaking a computational research of Virginia Woolf’s experimental novel The Waves. Frequencies of grammatical and semantic different types within the language of the six talking 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 ordinary styles of metaphor. the writer concludes that those analyses effectively differentiate all six characters, either synchronically and diachronically, and claims that this technique is usually acceptable to the learn of character in non-literary language. The publication, written in a transparent and available sort, could be of curiosity to post-graduate scholars and lecturers in linguistics, stylistics, literary experiences, 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 (Linguistic Approaches to Literature)
Lastly, the third view includes those critics who accept the existence of six different fictional personae characterized by individual development, but at the same time, consider them as part of a unity, or a single mind. The various standpoints are illustrated below through some of the most representative criticism. g. “said Susan,” “said Louis”). ; see also Minow-Pinkney 1987: 162; Caughie 1991: 84; Goldman 1997: 26). Guiguet (1965: 448) also stresses the fact that, regardless of the presence of six viewpoints in the soliloquy sections and a single one in Bernard’s final soliloquy, the effect achieved is that of the “central consciousness” of the narrator.
5; see also Heidbrink 2010: 4–67), “[p]sychoanalytic approaches concentrate on the psyche of both characters and recipients. g. ” The beginning of the twentieth century was marked by a change in the way Modernist writers dealt with character in the novel. Through stream of consciousness techniques, they started to give detailed presentations, rather than descriptions, of the many aspects of human personality, and of the workings of the mind. Throughout the twentieth century, psychoanalysis had an enormous influence on how human beings think about their own mental and psychic life, initially through the work of Freud (Interpretation of Dreams  1913) and Jung (Psychology of the Unconscious  1916).
357). 3 Stylistic approaches to characterization What is the difference between people in a novel and people like the novelists or like you, or like me, or Queen Victoria? M. 1), one of the major points of discussion in the literary theory of character is whether it should be viewed as resembling a real individual or as representing a function in the text. An additional possibility is implied in the stylistic approaches proposed by Chatman (1978: 118), Toolan (1988: 92), van Peer (1989a: 1–15), Mead (1990: 447–448) and Culpeper (2001: 9–12), that is, to consider character as a mental representation constructed out of the interaction between the text and the reader’s background knowledge.