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By David L. Hoover

Digital Literary Studies provides a extensive and sundry photo of the promise and strength of tools and techniques which are crucially established upon the electronic nature of the literary texts it experiences and the texts and collections of texts with which they're in comparison. It specializes in sort, diction, characterization, and interpretation of unmarried works and throughout higher teams of texts, utilizing either large typical language corpora and smaller, extra really expert collections of texts created for particular initiatives, and applies statistical suggestions utilized in the narrower confines of authorship attribution to broader stylistic questions. It addresses vital concerns in all of the 3 significant literary genres, and deliberately applies various suggestions and ideas to poetry, prose, and drama. It goals to give a provocative and suggestive pattern meant to motivate the appliance of those and different how to literary reports.

Hoover, Culpeper, and O’Halloran push the equipment, innovations, and ideas in new instructions, follow them to new teams of texts or to new questions, regulate their nature or approach to program, and mix them in cutting edge ways.

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Extra info for Digital Literary Studies: Corpus Approaches to Poetry, Prose, and Drama

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2003 and references therein; note that not all the evidence supports this correlation at all stages of Alzheimer’s disease). In the field of literary studies, similar assumptions are made. Brook, for example, points out that the old men in Shakespeare tend to speak in “short, jerky sentences, as though out of breath” (1976, 183), as is exemplified by the shepherd’s speech in The Winter’s Tale: Good lucke (an’t be thy will) what haue we heere? Mercy on’s, a Barne? A very pretty barne; A boy, or a Childe I wonder?

Why, lamb! Why, lady! Fie, you slug-a-bed! Why, love, I say! madam! sweetheart! Why, bride! What, not a word? You take your pennyworths now. Sleep for a week; for the next night, I warrant, The County Paris hath set up his rest That you shall rest but little. God forgive me! Marry, and amen! How sound is she asleep! ) 24 Jonathan Culpeper These surge features are not in fact indicators of transitory emotional reactions to circumstances. 3, all of the surge keywords occur in at least four scenes.

Beauty is used of both women, but blessed only of Juliet, who is metaphorically deified as the object of his love. Keywords relating to body parts–eyes, lips, and hand–underlie Romeo’s concern with the physical: If I profane with our unworthiest hand This holy shrine, the gentle sin is this; Our lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. 5) Interestingly, as is clear from the quotation above, Romeo often reflects on aspects of his own body. This hint at his egocentric nature is also reflected in the pronominal keywords, as we shall see in the following section.

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