Entropy and Divergence in a Modern Fiction Corpus

Proceedings of the National Academy of Sciences, 2012

Review Article I A Corpus Based Study of the Style in Jane Austen’s Novels, 2019

While a corpus linguistic technique has been applied to various studies in text and discourse analysis, it has not been much adopted in stylistic analysis of literary texts. The present study, therefore, applies a corpus-driven approach to Jane Austen's six major novels, in order to see how well this new method works with literary texts, compared with what has been observed in previous studies of Jane Austen's language. It has been found that the corpus-driven approach can provide quite a few results that are useful in supporting and refining literary scholars' crucial in interpreting and evaluating those results because the corpus-driven approach to literary texts relies heavily on quantitative data.

It is a truism of literature that certain authors have a highly recognizable style. The concept of style underlies the authorship attribution techniques that have been applied to tasks such as identifying which of several authors wrote a particular news article. In this paper, we explore whether the works of authors of classic literature can be correctly identified with either of two approaches to attribution, using a collection of 634 texts by 55 authors. Our results show that these methods can be highly accurate, with errors primarily for authors where it might be argued that style is lacking. And did Marlowe write the works of Shakespeare? Our preliminary evidence suggests not.

2009

Preface and Acknowledgements My first debt of gratitude belongs to Emeritus Professor John Burrows and the Centre for Literary and Linguistic Computing (CLLC) which he established at the University of Newcastle. In asking me to become the Centre's research assistant, he introduced me-by a process of osmosis-to the field of computational stylistics. In working for John, I learned the value of patience, thoroughness and exactitude in undertaking projects involving computer-assisted analysis of texts. Particular thanks are due to my two supervisors, Professor Hugh Craig and Dr. Ellen Jordan, who both helped me in a myriad of different ways. Hugh assumed the directorship of the Centre at a time when the horizons for computer technology were rapidly expanding, and, in working for him, I was introduced to the age of on-line texts, hyper-texts and an ever-increasing array of custom-built programs. When Ellen approached Hugh with an attribution problem in the Victorian periodicals, I learned of the existence of this vast body of interesting and well-written articles. As the research assistant working on this project, I became more and more fascinated with the field. It was Ellen's suggestion that I undertake a higher research degree project involving the periodicals. Since I now had a topic I could be passionate about and two excellent supervisors at hand, I

2011

The present study addresses one of the theoretical problems of computer-assisted authorship attribution, namely the question which traceable features of language can betray authorial uniqueness (a stylistic fingerprint) of literary texts. A number of recen

IJOHMN (International Journal online of Humanities)

This paper aims at investigating Leech and Short's Checklist of Lexical Features in their book Style in Fiction (2007) in order to help students of Stylistics at both undergraduate and postgraduate levels to deeply understand the application of such features. Leech and Short put these lexical features in the form of questions that should be answered by students who are conducting a stylistic lexical analysis of any literary work. In this paper, the researcher will mainly highlight how such features can operate in literary texts by providing explanation to these questions and answer them with examples.

Elephant&Castle, 2018

Since the studies of Adorno, Broch, and Benn, the “late” condition of artistic creation has always been described in terms of an evident stylistic fracture. However, recent theorizations tend to evaluate it as nothing but “a critical and ideological construct” (McMullan, Smiles). With our contribution, we will test these theorizations with the computational methods of stylometry, that are generally used for authorship attribution and distant reading, and that proved to be very sensitive to the temporal component. By using the Kolimo corpus and the Stylo software, we will perform a series of broad-spectrum experiments on authors of modern German literature (Robert Musil, Franz Kafka), verifying for which authors a caesura is present on the chronological line, and if this corresponds – according to the intuition by Said – with an increased distance from contemporary authors. Special attention will be devoted to the case study of Goethe and to how stylometry imposes a re-questioning of the traditional concept of style.

VEDA PUBLICATIONS, 2018

Language as we all know is an important or should I say an indispensable tool for human communication as it is through language that knowledge is transferred, meaning is created and understood ensuring social as well as scientific development of human society. It’s true not only for speech but also in writing, both being two of the most potential uses of language. After becoming a university subject in 1960s English language has being the target of literary critics. They have accused the linguists for being too dry when it comes to analysis of a piece of writing. And the linguists have accused the literary scholars for being to subjective, imaginative unambiguous for the same task. To bridge the differences or the gap between the two, stylistics a branch of applied linguistics functions to analyse the use of language literary texts. However it's not limited to the study of literature alone but is also stretched to varieties of writings like texts related to media and journalism, the advertisements etc. This paper is an attempt to explore the link between language and its most creative use that is Literature. Through this paper I aim to show the features of language and creative uses under which these forms are put to appeal to human senses and make a piece of literature alive whether it's romance, tragedy or comedy.

Proceedings of IJCAI, 2003