Research Doctorate - Doctor of Philosophy (PhD) / The aim of the thesis is to use computational stylistics, and in particular the methods pioneered by John Burrows, to explore aspects of the nineteenth-century periodical genre. Published for the most part anonymously, periodical articles were written by an extraordinary range of authors on an incredible variety of topics. The standard of writing in the thousands of articles appearing in the ‘higher’ or ‘literary’ journals has generally been agreed by scholars to be ‘remarkably good’. Beginning in 1802 and flourishing for most of the century, this outstanding genre of writing had all but disappeared by the beginning of the twentieth century. The text collection for the thesis consists of almost two million words by twenty-two authors. My study employs a variety of statistical tests on these texts to examine the effect of such factors as anonymity, commonality, authorial individuality, gender, house-style, text-type and chronology on the periodicals. I begin by taking a broad view of the field: first allowing the articles to ‘speak for themselves’ and to exhibit their commonalities and individual differences; then exploring the significance of both the intra-generic focus of the article – the stance taken in a particular article – and the author’s own idiosyncratic preferences in determining the incidence of function words in these articles. The interplay between these two factors provided an explanation as to why the articles of some authors invariably grouped together while those of other authors displayed marked variability. The use of lists of authorial ‘marker words’ – those words used relatively more or relatively less frequently by individual authors – showed that one can think of this large group of mostly anonymous periodical articles as a set of authorial oeuvres. I also look at the frequently made assertion that authors adapted their writing to the ‘house style’ of particular journals, and come to the conclusion that it does not significantly affect the deeper level of style revealed by function word usage. I then examine the question of whether or not there are differences between men’s and women’s usages of function words, coming to the conclusion that, although differences can be seen to exist, it is not at present possible to come up with sets of ‘marker words’ that reveal gender in the way that is possible with authorship. I use ‘marker words’ to identify the characteristics of one major author, George Eliot, and to show how she modified her stylistic practices when she moved from the periodical essay to fiction. I demonstrate how the techniques of computational stylistics can be used to check the legitimacy of some of the attributions made in the Wellesley Index, and I attribute one much-discussed anonymous group of articles on ‘the woman question’ to Robert Cecil 3rd Marquess of Salisbury and Prime Minister of England.

This master thesis extends the main topic of the bachelor thesis Speech of the Computer Games Players (also by Eliška Schönbauerová) and it will further research a new type of sociolect; the speech of computer games players. This sociolect has been researched just on the basic level, and so the author seeks to focus on other, yet unexplored linguistic levels of said sociolect: morphology, word-formation, phonetics, lexicology, syntax and stylistics. The goal is to deeply explore and research gamers' sociolect and to better understand the process of adapting Anglicisms in the system of contemporary Czech language. The theoretical part is based on available professional literature. This thesis also contains materials gathered by the author from gamers or they are available online.

Depuis plusieurs années, on assiste à la croissance exponentielle des cas de plagiat non seulement dans les arts, mais aussi dans la recherche scientifique. La réalité veut qu’en l’absence d’un spécialiste de la littérature dans les débats à la barre pour trier le bon grain de l’ivraie, le juge se trouve très souvent obligé de jouer le rôle du spécialiste à la fois du droit et de la littérature. C’est donc dans ce contexte particulier, que se situe ce travail de recherche. L’objectif est de partir de l’analyse de quatre biographies, de deux romans et de trois décisions de justice pour essayer de pallier les insuffisances d’une « approche juridique » de la littérature et proposer une grille d’analyse littéraire systématisée. Cette grille d’analyse résulte de la conjugaison de deux processus : l’analyse manuelle et celle assistée par ordinateur. En effet, avec pour cadre général l’analyse de l’œuvre intégrale, l’analyse manuelle se combine avec la textométrie. faite à l’aide de deux logiciels : TXM conçu par le laboratoire ICAR de l’ENS de Lyon et Hyperbase conçu par le Professeur Étienne Brunet de l’université de Nice. C’est à l’issue de toutes ces investigations que le spécialiste de la littérature devrait émettre un avis motivé dont le tribunal devrait se servir pour dire le droit et... rendre justice / For several years now, there has been an exponential growth in cases of plagiarism not only in the arts, but in scientific research as well. Reality warrants that in the absence of a specialist in literature in court to separate the gold from the dross, the judge is often compelled to play the rote of both a specialist in law and in literature. It is against this backdrop that this research work is inspired. The aim is to analyze four biographies, two novels and three court rulings in an attempt to address the shortcomings of “legal approach” to literature and propose a systematized literary analytical framework. This analytical framework is the result of combining two processes : the manual process and the computer-assisted one. As a matter of fact, against a general framework of analyzing the complete works, manual analysis is combined with textometry, carried out using two softwares: TXM designed by the iCAR laboratory of ENS Lyon and Hyperbase designed by Professor Etienne Brunet of Nice University. It is after all these investigations that the literature specialist may issue a reasoned opinion that the court may use to say what the law is and... mete out justice

The topic of this diploma thesis is a linguistic analysis of a defined part of the first volume of Jan František Beckovský´s baroque chronicle. The theoretical level approaches the life of the author, it summarizes his works and introduces the chronicle called Poselkyně starých příběhů českých I written in 1700 itself. The analysis deals with the phonological and lexical levels of the chronicle in several thematic wholes. Less attention was paid to the morphological and stylistic levels. The syntactic structure of the chronicle was not analysed there. The thesis aims at discussing the basic phonological features of the high Baroque style language and presenting the vocabulary specifics of a historiographical text.

A crônica é um gênero textual híbrido, por oscilar entre a subjetividade da literatura e a objetividade do jornalismo. Ela nasce de fatos corriqueiros, está vinculada à fala e à interação e tem um estilo que simula naturalidade. Diante de um texto desse tipo, de que maneira podemos dissociar as marcas de oralidade como constituintes da construção composicional do gênero das marcas de oralidade usadas como recurso estilístico do cronista? Para responder a essa questão, recorremos à Estilística e aos estudos sobre oralidade e escrita, guiando-nos, prioritariamente, pelas ideias de Marcel Cressot, Nilce SantAnna Martins, Norma Discini, José Lemos Monteiro, Claudio Cezar Henriques, Sírio Possenti, Dino Preti, Hudinilson Urbano, Luiz Antônio Marcuschi, Ingedore Villaça Koch e Eni P. Orlandi, entre outros. Trabalhamos, em adição, a linguagem jornalística sob a perspectiva de Patrick Charaudeau. O corpus utilizado para este trabalho teórico foi organizado a partir de crônicas de Joaquim Ferreira dos Santos, cujos textos, em sua maioria, voltam-se para a influência da modalidade falada da língua no cotidiano dos leitores, o que demonstra sua preocupação com a linguagem. Adotamos a linguagem sob a perspectiva sociointeracionista, nos termos de Mikhail Bakhtin, e sustentamos a visão de que as marcas de oralidade nas crônicas de Joaquim configuram-se como recurso estratégico para produzir um efeito de sentido pretendido pelo autor em determinado contexto / The journalistic chronicle is a hybrid text once it oscillates between the literary subjectivity and objectivity of journalism. It is born from everyday facts, is linked to speech and to interaction and it is built in a style that simulates naturalness. Considering a text of this nature, in which way can we dissociate the marks of orality as constituents of the compositional construction of the genre from the orality marks used as a stylistic feature of the chronicler? Seeking to answer this question, we made use of Stylistics and the correlate studies of orality and writing, being guided, primarily, by the ideas of Marcel Cressot, Nilce SantAnna Martins, Norma Discini, José Lemos Monteiro, Claudio Cezar Henriques, Sírio Possenti, Dino Preti, Hudinilson Urbano, Luiz Antônio Marcuschi, Ingedore Villaça Koch e Eni P. Orlandi, among others. In addition, we studied the journalistic language from the perspective of Patrick Charaudeau's Semiolinguistics. The corpus used to this theoretical study was based on the journalistic chronicles of Joaquim Ferreira dos Santos, whose texts mostly turn to the influence of spoken mode of language found in the daily life of readers, which demonstrates his concern with the language. The adopted language perspective herein is the social-interactionist one, in connection with Mikhail Bakhtins ideas, and we hold the view that the marks of orality in Joaquims journalistic chronicles configure themselves as a strategic resource to produce an effect of meaning intended by the author in a given context

Studies on the phenomenon of hyperbaton (or discontinuous noun phrases) in Latin have traditionally suffered from over-generalizing descriptions and categorizations drawing on examples from a variety of sources. This thesis attempts a different approach, closely examining the totality of instances in a single text, Cicero’s Pro Milone, in view of establishing a preliminary typology and to investigate the motivations behind it. It also consistently compares the discontinuous data with continuous examples, in order to rule out as many alternative motivations as possible. The results suggest that the discursive value of the components is crucial for whether hyperbaton occurs or not: in particular a combination of a pragmatic function (Topic or Focus) and Contrast, and connects this to some recent theoretical proposals.

Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2003-06-27Bitstream added on 2014-06-13T19:03:27Z : No. of bitstreams: 1 martins_vhf_dr_sjrp.pdf: 702294 bytes, checksum: e9523aeb9231a38410e0053d4c816a9e (MD5) / Análise sobre o Impressionismo literário, a partir da releitura duma narrativa da Literatura Brasileira, Crônica da casa assassinada, de Lúcio Cardoso, a qual visa a descobrir-lhe a concepção, a temática, o princípio estrutural e a estilística. Pela investigação desses quatro segmentos, chegou-se aos seguintes resultados: a) se ainda se hesita em pensar-se o Impressionismo literário como um escola, sem dúvida pode-se pensá-lo como um estilo, que se projeta do século XIX para o XX; b) o Impressionismo literário invariavelmente refere-se à prosa de ficção (conto, novela, romance); c) Cca configura-se antes um romance impressionista que expressionista, já a partir do substrato filosófico que o move; d) os temas de Cca apontam para o Naturalismo, com o qual o Impressionismo vincula-se estreitamente; e) Cca revela um projeto estrutural, o que pressupõe desmontagem e remontagem textuais; f) o estilo cardosiano vai ao encontro deste idioma nervoso, colorido e requintado chamado écriture artiste, característico do Impressionismo literário. / Research about Literary Impressionism, mainly in a Brazilian Literature Narrative, Crônica da casa assassinada, from Lúcio Cardoso, which tries to find out the conception, the titles, the structural begining and Stilistics. Searching these four elements, the following results were reached: a) one doesn't think about Literary Impressionism just as a single literary behaviour, but as a style, that goes through XIXth. to XXth. Century; b) the Literary Impressionism refers, in a particular and unchangeable way, to fiction prose (short stories, fictous tales, novels); c) Cca is na impressionist novel, since its phylosiphical substractum; d) Cca themes goes to Naturalism, with whom Impressionism is tighly joined; d) Cca brings a narrative handed made work, that presupposes dismounting and remounting the text; f) Cardoso's style goes through this nervous, coloured and sophisticated idiom called écriture artiste.

A crônica é um gênero textual híbrido, por oscilar entre a subjetividade da literatura e a objetividade do jornalismo. Ela nasce de fatos corriqueiros, está vinculada à fala e à interação e tem um estilo que simula naturalidade. Diante de um texto desse tipo, de que maneira podemos dissociar as marcas de oralidade como constituintes da construção composicional do gênero das marcas de oralidade usadas como recurso estilístico do cronista? Para responder a essa questão, recorremos à Estilística e aos estudos sobre oralidade e escrita, guiando-nos, prioritariamente, pelas ideias de Marcel Cressot, Nilce SantAnna Martins, Norma Discini, José Lemos Monteiro, Claudio Cezar Henriques, Sírio Possenti, Dino Preti, Hudinilson Urbano, Luiz Antônio Marcuschi, Ingedore Villaça Koch e Eni P. Orlandi, entre outros. Trabalhamos, em adição, a linguagem jornalística sob a perspectiva de Patrick Charaudeau. O corpus utilizado para este trabalho teórico foi organizado a partir de crônicas de Joaquim Ferreira dos Santos, cujos textos, em sua maioria, voltam-se para a influência da modalidade falada da língua no cotidiano dos leitores, o que demonstra sua preocupação com a linguagem. Adotamos a linguagem sob a perspectiva sociointeracionista, nos termos de Mikhail Bakhtin, e sustentamos a visão de que as marcas de oralidade nas crônicas de Joaquim configuram-se como recurso estratégico para produzir um efeito de sentido pretendido pelo autor em determinado contexto / The journalistic chronicle is a hybrid text once it oscillates between the literary subjectivity and objectivity of journalism. It is born from everyday facts, is linked to speech and to interaction and it is built in a style that simulates naturalness. Considering a text of this nature, in which way can we dissociate the marks of orality as constituents of the compositional construction of the genre from the orality marks used as a stylistic feature of the chronicler? Seeking to answer this question, we made use of Stylistics and the correlate studies of orality and writing, being guided, primarily, by the ideas of Marcel Cressot, Nilce SantAnna Martins, Norma Discini, José Lemos Monteiro, Claudio Cezar Henriques, Sírio Possenti, Dino Preti, Hudinilson Urbano, Luiz Antônio Marcuschi, Ingedore Villaça Koch e Eni P. Orlandi, among others. In addition, we studied the journalistic language from the perspective of Patrick Charaudeau's Semiolinguistics. The corpus used to this theoretical study was based on the journalistic chronicles of Joaquim Ferreira dos Santos, whose texts mostly turn to the influence of spoken mode of language found in the daily life of readers, which demonstrates his concern with the language. The adopted language perspective herein is the social-interactionist one, in connection with Mikhail Bakhtins ideas, and we hold the view that the marks of orality in Joaquims journalistic chronicles configure themselves as a strategic resource to produce an effect of meaning intended by the author in a given context

Cette thèse s’attache à interroger et essaie de définir l’évolution stylistique de l’écriture d’Apollinaire, en l’articulant aux manifestations syntaxiques du continu et du discontinu au sein du discours poétique. Nous y observons comment le discontinu s’inscrit dans la pensée et l’écriture apollinarienne, tant sous la forme d’un motif obsédant, celui du morcellement et de la dissolution du corps, que comme principe de construction du discours, par les figures de juxtaposition et de raccourci syntaxiques. Nous essayons d’étudier les spécificités et l’évolution diachronique de la syntaxe poétique d’Apollinaire, grâce aux apports méthodologique de la textométrie (en particulier du logiciel de statistique textuelle : TXM).Nous analysons plusieurs dispositifs textuels représentatifs de l’articulation apollinarienne du continu et du discontinu : la proposition subordonnée relative, les effets de mise en liste et d’émiettement syntaxique (énumérations, accumulations, juxtapositions), ainsi que le cas particulier que constitue les calligrammes (espace de synthèse poétique, à l’image du renouvellement des régimes de visibilité). Ce type de structures et d’organisations du discours poétique permet en effet d’interroger les enjeux de la plasticité de l’écriture apollinarienne. / This thesis aims to examine and define the stylistic evolution of Apollinaire's writing in light of the syntactic continuity and discontinuity in poetic discourse. It studies the place of discontinuity in his work, both as a haunting motif of the fragmentation and the dissolution of the poet's body through space, as well as a principle of discursive construction, by instances of juxtaposition and shortened syntax. It attempts to study the specificities and the diachronic evolution of Apollinaire by using textometry as a methodological tool (specifically the software for textual statistics: TXM). This thesis analyses several textual structures that represent Apollinaire's articulation of continuity and discontinuity: the relative subordinate clause, the effects of listing and syntactical splitting (enumerations, accumulations, juxtapositions), as well as the particular example of caligramms (a space of poetical synthesis, for instance the extension of regimes of visibility). This type of structure and organization of poetic discourse allows us to analyze the question of the plasticity of Apollinaire's writing.

L’objectif du travail est d’aborder la chanson du XIXe siècle à partir de la notion de populaire : au cours de la première moitié du siècle, les deux objets (chanson et populaire) semblent devenir interdépendants, et contribuent chacun à la représentation de l’autre. Le populaire résistant à une définition stable, on a opté pour une contextualisation de sa compréhension, et son association avec le genre chanson, devenue presque évidente de nos jours, a donc été questionnée à partir d’un corpus numérisé de plus de 600 textes réunis en fonction de considérations d’ordre historique, bibliographique, et discursif. Après avoir explicité l’importance du texte dans l’analyse de la chanson et les critères de sélection du corpus, on s’est attaché à questionner le populaire comme notion, dans la synchronie avec les chansons étudiées, pour mieux comprendre les enjeux de cette dénomination, avant d’observer la représentation construite, par la chanson elle-Même, de son interdépendance avec le peuple. L’approche stylistique qui est proposée ensuite amène, avec la question de la singularité, celle de l’auctorialité, de sa validité pour l’analyse des chansons imprimées entre 1848 et 1851, ainsi que de ses représentations et des enjeux qu’elles suppose dans la situation et l’historicité de ces productions. En lien avec ces questions, le traitement des textes par auteur permet d’observer également les divers types de circulations, de reprises, et d’éléments communs dans le corpus constitué, ce qui soulève le problème d’une écriture à l’intérieur de laquelle certains éléments sont disponibles pour tous les acteurs et marquent l’appartenance à un champ discursif conscient et revendiqué (en l’occurrence celui des chansonniers populaires). C’est pour approcher plus précisément cette question des formes qui apparaissent comme collectives ainsi que celle de la complexité sémiologique de l’écriture chansonnière que l’analyse métrique est décisive, parce qu’elle apporte un outil méthodologique propre à dégager des récurrences massives à l’intérieur d’un corpus, récurrences qui peuvent renseigner sur la pratique et la perception de l’écriture versifiée en synchronie, et en regard desquelles d’autres configurations minoritaires sont envisageables dans leur hétérogénéité. / The main goal of this research is to study 19th Century song through the prism of the popular. During the first half of the 19th Century, both objects (song and the popular) seem to become interdependent, with each contributing to the representation of the other. Since no fixed definition can be provided for the popular, a contextualized understanding of this notion is preferred. Its association with the genre of song, which has become almost obvious nowadays, was analysed based on a digitalized corpus of more than 600 texts selected according to historical, bibliographical and discursive criteria. After positing the importance of the text in the study of song and justifying the selection criteria for the corpus, we discuss the notion of the popular at the time period under scrutiny, we assess this denomination in relation with the corpus and we observe how songs construct a representation of their interdependence with the people. Our stylistic approach accounts for the texts’ singularities but it also assesses how valid the notion of auctoriality is for songs printed between 1848 and 1851 and discusses the situated and dynamic representation of authorship. Analyzing texts according to their authors casts light on the issues of circulations, common elements and recurrences in the corpus. In a writing context where some elements are available for all the actors, common elements can be used to mark how a textual production belongs in a specific discursive domain (that of popular song writers in our case). Metrical analysis is a decisive methodology to analyse what appears as the collective character of these forms and the semiological complexity of song writing. It allows us to identify massive recurrences in the corpus, to clarify the practice and perception of verse writing in synchrony and to account for the heterogeneity of less frequent configurations as well.