-
Notifications
You must be signed in to change notification settings - Fork 0
/
Copy pathch1.html
796 lines (768 loc) · 106 KB
/
ch1.html
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
<!DOCTYPE HTML><html lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html; charset=UTF-8">
<title>Genre Analysis and Corpus Design: Nineteenth-Century Spanish-American Novels (1830–1910)</title>
<meta charset="UTF-8">
<meta name="viewport" content="width=device-width, initial-scale=1">
<link rel="stylesheet" href="css/w3.css">
<link rel="stylesheet" href="css/w3-theme-blue-grey.css">
<link rel="stylesheet" href="css/w3-colors-signal.css">
<link rel="stylesheet" href="css/font-awesome.min.css">
<style>
html {
scroll-padding-top: 118px;
}
html,body {font-size: 20px;}
html,body,h1,h2,h3,h4,h5,h6 {font-family: "Times New Roman", serif;}
h1 {font-size: 32px;}
h2 {font-size: 30px;}
h3, h4, h5 {font-size: 28px;}
.header-image {
position: absolute;
left: 0;
top: 0;
z-index: -1;
}
.custom-logo {
position: absolute;
top: 20px;
left: 7px;
}
#toc a {
text-decoration: none;
}
sup.w3-btn {
font-size: small;
padding: 7px 5px;
}
.w3-top a {
text-decoration: none;
}
.w3-sidebar {
z-index: 3;
width: 450px;
top: 86px;
bottom: 0;
height: inherit;
}
.w3-sidebar button.w3-button {
white-space: normal;
}
.w3-sidebar.w3-bar-block .w3-bar-item {
/*line-height: 1.0;*/
padding-right: 20px;
}
.w3-sidebar .w3-bar {
margin-top: 20px;
margin-bottom: 20px;
}
.w3-tooltip .w3-text {
line-height: 1.0;
min-width: 300px;
}
.paracount a {
display: inline-block;
padding: 0px 5px;
text-decoration: none;
font-size: 0.8em;
font-weight: bold;
}
.w3-responsive .w3-table {
width: auto;
max-width: 100%;
margin: 0 auto 0 auto;
}
table.w3-border, table.w3-border th, table.w3-border td {
border: 1px solid #ccc;
border-collapse: collapse;
border-spacing: 0px;
}
table.center th, table.center td {
text-align: center;
}
table th, table td {
font-size: 0.9em;
}
table th {
background-color: #dddddd;
}
caption {
margin-top: 5px;
}
blockquote {
font-size: 0.95em;
}
code {
font-size: 0.8em;
}
figure.code {
overflow: scroll;
}
figure.code pre {
padding: 10px;
border: 1px solid grey;
margin-bottom: 0px;
overflow: scroll;
}
figcaption {
font-size: 0.9em;
text-align: center;
}
</style>
</head>
<body>
<div class="w3-top">
<div class="w3-bar w3-theme w3-top w3-center w3-large"><a class="w3-bar-item w3-button w3-right w3-hide-large w3-hover-white w3-large w3-theme-l1" href="javascript:void(0)" onclick="w3_open()"><i class="fa fa-bars"></i></a><img src="img/side.jpg" class="header-image" alt="Institut für Dokumentologie und Editorik" width="100%" height="15"><h1 class="w3-center" style="margin-top: 27px; padding-left: 175px; font-size:calc(8pt + 1.2vw);"><a href="index.html">Genre Analysis and Corpus Design: Nineteenth-Century Spanish-American Novels (1830–1910)</a></h1><a href="https://www.i-d-e.de/"><img src="img/ide-logo.png" class="custom-logo w3-image" alt="Institut für Dokumentologie und Editorik" style="width:172px;height:auto;"></a></div>
</div>
<nav class="w3-sidebar w3-padding-32 w3-bar-block w3-collapse w3-large w3-theme-l5 w3-animate-left" id="mySidebar"><a href="javascript:void(0)" onclick="w3_close()" class="w3-right w3-xlarge w3-padding-large w3-hover-black w3-hide-large" title="Close Menu"><i class="fa fa-remove"></i></a><a class="w3-bar-item w3-button w3-hover-blue-grey " href="index.html">Home</a><a class="w3-bar-item w3-button w3-hover-blue-grey " href="acknowledgements.html">Acknowledgements</a><button class="w3-button w3-block w3-left-align w3-hover-blue-grey " onclick="myAccFunc('menuAcc1')">Summary <i class="fa fa-caret-down w3-padding-small"></i></button><div id="menuAcc1" class="w3-bar-block w3-hide w3-white w3-card-4"><a href="summary.html#Summary" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Summary</a><a href="summary.html#Resumen" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Resumen</a><a href="summary.html#Zusammenfassung" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Zusammenfassung</a></div><a class="w3-bar-item w3-button w3-hover-blue-grey " href="toc.html">Table of Contents</a><div class="w3-bar w3-border w3-dark-grey"></div><a id="menuch1" class="w3-bar-item w3-button w3-hover-blue-grey w3-blue-grey " href="ch1.html#ch1">1 Introduction</a><span id="menuch2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align "><a href="ch2.html#ch2" style="text-decoration: none;">2 Concepts</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2')"></i></span><div id="menuAccch2" class="w3-bar-block w3-hide w3-white w3-card-4 "><span id="menuch2.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.1" style="text-decoration: none;">2.1 Literary Genres</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.1')"></i></span><div id="menuAccch2.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.1">2.1.1 Disciplinary Locations of Genre Studies</a><span id="menuch2.1.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.1.2" style="text-decoration: none;">2.1.2 Ontological Status and Relevance of Genres</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.1.2')"></i></span><div id="menuAccch2.1.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.1.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.2.1">2.1.2.1 Semiotic Models of Genres</a><a id="menuch2.1.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.2.2">2.1.2.2 Genres and Digital Genre Stylistics: The Roles of Corpora, Genre Labels,
Features, and Text Style</a></div><span id="menuch2.1.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.1.3" style="text-decoration: none;">2.1.3 System and History</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.1.3')"></i></span><div id="menuAccch2.1.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.1.3.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.3.1">2.1.3.1 A Conceptual Proposal for Digital Genre Stylistics: Literary Text Types,
Conventional Literary Genres, and Textual Literary Genres</a><a id="menuch2.1.3.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.3.2">2.1.3.2 Text Types, Conventional Genres, and Textual Genres in Semiotic Models of
Generic Terms</a><a id="menuch2.1.3.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.3.3">2.1.3.3 Literary Currents, Schools, and Movements</a><a id="menuch2.1.3.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.3.4">2.1.3.4 Genre Systems and Hierarchies</a><a id="menuch2.1.3.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.3.5">2.1.3.5 Genre Identity and Variability</a></div><span id="menuch2.1.4" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.1.4" style="text-decoration: none;">2.1.4 Categorization</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.1.4')"></i></span><div id="menuAccch2.1.4" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.1.4.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.4.1">2.1.4.1 Logical Classes</a><a id="menuch2.1.4.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.4.2">2.1.4.2 Prototype Categories</a><a id="menuch2.1.4.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.4.3">2.1.4.3 Family Resemblance Networks</a></div>
</div><a id="menuch2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.2">2.2 Style</a><span id="menuch2.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.3" style="text-decoration: none;">2.3 Subgenres of the Nineteenth-Century Spanish-American Novel</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.3')"></i></span><div id="menuAccch2.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><span id="menuch2.3.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.3.1" style="text-decoration: none;">2.3.1 Thematic Subgenres</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.3.1')"></i></span><div id="menuAccch2.3.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.3.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.1.1">2.3.1.1 <em>Novela histórica</em></a><a id="menuch2.3.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.1.2">2.3.1.2 <em>Novela de costumbres</em></a><a id="menuch2.3.1.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.1.3">2.3.1.3 <em>Novela sentimental</em></a></div><span id="menuch2.3.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.3.2" style="text-decoration: none;">2.3.2 Subgenres Related to Literary Currents</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.3.2')"></i></span><div id="menuAccch2.3.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.3.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.2.1">2.3.2.1 <em>Novela romántica</em></a><a id="menuch2.3.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.2.2">2.3.2.2 <em>Novela realista</em></a><a id="menuch2.3.2.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.2.3">2.3.2.3 <em>Novela naturalista</em></a></div>
</div>
</div><span id="menuch3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align "><a href="ch3.html#ch3" style="text-decoration: none;">3 Corpus</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3')"></i></span><div id="menuAccch3" class="w3-bar-block w3-hide w3-white w3-card-4 "><span id="menuch3.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.1" style="text-decoration: none;">3.1 Selection Criteria</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.1')"></i></span><div id="menuAccch3.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><span id="menuch3.1.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.1.1" style="text-decoration: none;">3.1.1 Boundaries of the Novel</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.1.1')"></i></span><div id="menuAccch3.1.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.1.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.1">3.1.1.1 Fictionality</a><a id="menuch3.1.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.2">3.1.1.2 Narrativity</a><a id="menuch3.1.1.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.3">3.1.1.3 Prose</a><a id="menuch3.1.1.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.4">3.1.1.4 Length</a><a id="menuch3.1.1.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.5">3.1.1.5 Independent Publication</a><a id="menuch3.1.1.6" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.6">3.1.1.6 Additional Criteria</a><a id="menuch3.1.1.7" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.7">3.1.1.7 A Working Definition of the Novel</a></div><a id="menuch3.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.2">3.1.2 Borders of Argentina, Cuba, and Mexico</a><a id="menuch3.1.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.3">3.1.3 Limits of the Nineteenth Century</a></div><span id="menuch3.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.2" style="text-decoration: none;">3.2 Bibliographical Database</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.2')"></i></span><div id="menuAccch3.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.1">3.2.1 Sources</a><a id="menuch3.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.2">3.2.2 Data Model and Text Encoding</a><span id="menuch3.2.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.2.3" style="text-decoration: none;">3.2.3 Assignment of Subgenre Labels</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.2.3')"></i></span><div id="menuAccch3.2.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.2.3.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.1">3.2.3.1 An Example</a><a id="menuch3.2.3.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.2">3.2.3.2 Levels of Subgenre Terms</a><a id="menuch3.2.3.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.3">3.2.3.3 Explicit and Implicit Subgenre Signals</a><a id="menuch3.2.3.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.4">3.2.3.4 Interpretive Subgenre Labels</a><a id="menuch3.2.3.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.5">3.2.3.5 Literary-Historical Subgenre Labels</a><a id="menuch3.2.3.6" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.6">3.2.3.6 A Discursive Model of Generic Terms</a></div>
</div><span id="menuch3.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.3" style="text-decoration: none;">3.3 Text Corpus</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.3')"></i></span><div id="menuAccch3.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.3.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.1">3.3.1 Selection of Novels and Sources</a><a id="menuch3.3.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.2">3.3.2 Text Treatment</a><span id="menuch3.3.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.3.3" style="text-decoration: none;">3.3.3 Metadata and Text Encoding</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.3.3')"></i></span><div id="menuAccch3.3.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><span id="menuch3.3.3.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.3.3.1" style="text-decoration: none;">3.3.3.1 TEI Header</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.3.3.1')"></i></span><div id="menuAccch3.3.3.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.3.3.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.1">3.3.3.1.1 Title and Publication Statements</a><a id="menuch3.3.3.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.2">3.3.3.1.2 Declaration of Rights</a><a id="menuch3.3.3.1.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.3">3.3.3.1.3 Source Description</a><a id="menuch3.3.3.1.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.4">3.3.3.1.4 Encoding Description</a><a id="menuch3.3.3.1.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.5">3.3.3.1.5 Abstracts</a><a id="menuch3.3.3.1.6" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.6">3.3.3.1.6 Text Classification with Keywords</a><a id="menuch3.3.3.1.7" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.7">3.3.3.1.7 Revision Description</a></div><span id="menuch3.3.3.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.3.3.2" style="text-decoration: none;">3.3.3.2 TEI Body</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.3.3.2')"></i></span><div id="menuAccch3.3.3.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.3.3.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.1">3.3.3.2.1 Typographically Marked Subdivisions of the Text</a><a id="menuch3.3.3.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.2">3.3.3.2.2 Typographically Highlighted Words or Phrases</a><a id="menuch3.3.3.2.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.3">3.3.3.2.3 Gaps</a><a id="menuch3.3.3.2.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.4">3.3.3.2.4 Verse Lines</a><a id="menuch3.3.3.2.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.5">3.3.3.2.5 Dramatic Text</a><a id="menuch3.3.3.2.6" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.6">3.3.3.2.6 Representations of Written Text</a><a id="menuch3.3.3.2.7" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.7">3.3.3.2.7 Quotations</a><a id="menuch3.3.3.2.8" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.8">3.3.3.2.8 Direct Speech and Thought</a><a id="menuch3.3.3.2.9" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.9">3.3.3.2.9 Embedded Texts</a></div><a id="menuch3.3.3.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.3">3.3.3.3 TEI Schema</a></div><a id="menuch3.3.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.4">3.3.4 Assignment of Subgenre Labels</a><a id="menuch3.3.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.5">3.3.5 Derivative Formats and Publication</a></div>
</div><span id="menuch4" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align "><a href="ch4.html#ch4" style="text-decoration: none;">4 Analysis</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4')"></i></span><div id="menuAccch4" class="w3-bar-block w3-hide w3-white w3-card-4 "><span id="menuch4.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.1" style="text-decoration: none;">4.1 Metadata Analysis</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.1')"></i></span><div id="menuAccch4.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.1">4.1.1 On Representativeness</a><a id="menuch4.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.2">4.1.2 Authors</a><span id="menuch4.1.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.1.3" style="text-decoration: none;">4.1.3 Works</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.1.3')"></i></span><div id="menuAccch4.1.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.1.3.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.3.1">4.1.3.1 Comparison of Bib-ACMé and Conha19</a><a id="menuch4.1.3.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.3.2">4.1.3.2 Corpus-specific Overviews</a></div><a id="menuch4.1.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.4">4.1.4 Editions</a><span id="menuch4.1.5" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.1.5" style="text-decoration: none;">4.1.5 Subgenres</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.1.5')"></i></span><div id="menuAccch4.1.5" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.1.5.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.1">4.1.5.1 Explicit Signals, Implicit Signals, and Literary-Historical Labels</a><span id="menuch4.1.5.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.1.5.2" style="text-decoration: none;">4.1.5.2 Discursive Levels of Subgenre Labels</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.1.5.2')"></i></span><div id="menuAccch4.1.5.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.1.5.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.1">4.1.5.2.1 Theme</a><a id="menuch4.1.5.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.2">4.1.5.2.2 Literary Currents</a><a id="menuch4.1.5.2.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.3">4.1.5.2.3 Mode of Representation</a><a id="menuch4.1.5.2.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.4">4.1.5.2.4 Mode of Reality</a><a id="menuch4.1.5.2.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.5">4.1.5.2.5 Identity</a><a id="menuch4.1.5.2.6" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.6">4.1.5.2.6 Medium</a><a id="menuch4.1.5.2.7" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.7">4.1.5.2.7 Attitude</a><a id="menuch4.1.5.2.8" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.8">4.1.5.2.8 Intention</a></div><span id="menuch4.1.5.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.1.5.3" style="text-decoration: none;">4.1.5.3 Subgenre Labels Selected for Text Analysis</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.1.5.3')"></i></span><div id="menuAccch4.1.5.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.1.5.3.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.3.1">4.1.5.3.1 Primary Thematic Labels</a><a id="menuch4.1.5.3.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.3.2">4.1.5.3.2 Primary Literary Currents</a></div>
</div>
</div><span id="menuch4.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.2" style="text-decoration: none;">4.2 Text Analysis</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.2')"></i></span><div id="menuAccch4.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><span id="menuch4.2.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.2.1" style="text-decoration: none;">4.2.1 Features</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.2.1')"></i></span><div id="menuAccch4.2.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.2.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.1.1">4.2.1.1 General Features: MFW</a><a id="menuch4.2.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.1.2">4.2.1.2 Semantic Features: Topics</a></div><span id="menuch4.2.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.2.2" style="text-decoration: none;">4.2.2 Categorization</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.2.2')"></i></span><div id="menuAccch4.2.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><span id="menuch4.2.2.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.2.2.1" style="text-decoration: none;">4.2.2.1 Classification</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.2.2.1')"></i></span><div id="menuAccch4.2.2.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.2.2.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.2.1.1">4.2.2.1.1 Thematic Subgenres</a><a id="menuch4.2.2.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.2.1.2">4.2.2.1.2 Literary Currents</a></div><span id="menuch4.2.2.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.2.2.2" style="text-decoration: none;">4.2.2.2 Family Resemblance: Network Analysis</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.2.2.2')"></i></span><div id="menuAccch4.2.2.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.2.2.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.2.2.1">4.2.2.2.1 Method</a><a id="menuch4.2.2.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.2.2.2">4.2.2.2.2 Data</a><a id="menuch4.2.2.2.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.2.2.3">4.2.2.2.3 Results</a></div>
</div>
</div>
</div><a id="menuch5" class="w3-bar-item w3-button w3-hover-blue-grey " href="ch5.html#ch5">5 Conclusion</a><div class="w3-bar w3-border w3-dark-grey"></div><a class="w3-bar-item w3-button w3-hover-blue-grey " href="notes.html">Notes</a><a class="w3-bar-item w3-button w3-hover-blue-grey " href="references.html">References</a><button class="w3-button w3-block w3-left-align w3-hover-blue-grey" onclick="myAccFunc('menuAcc3')">Appendix <i class="fa fa-caret-down w3-padding-small"></i></button><div id="menuAcc3" class="w3-bar-block w3-hide w3-white w3-card-4 "><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="corpus-sources.html">Sources of the Novels in the Corpus</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="appendix-figures.html">Appendix of Figures</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="index-figures.html">Index of Figures</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="index-tables.html">Index of Tables</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="index-examples.html">Index of Examples</a></div><button class="w3-button w3-hover-blue-grey w3-block w3-left-align" onclick="myAccFunc('menuAcc2')">Data and Scripts <i class="fa fa-caret-down w3-padding-small"></i></button><div id="menuAcc2" class="w3-bar-block w3-hide w3-white w3-card-4"><a href="https://github.com/cligs/bibacme" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Bibliography (Bib-ACMé)</a><a href="https://github.com/cligs/conha19" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Corpus (Conha19)</a><a href="https://github.com/cligs/scripts-nh/" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Analysis Scripts (Scripts-nh)</a><a href="https://github.com/cligs/data-nh/" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Analysis Data (Data-nh)</a><a href="tei/Henny-Krahmer_2023_Genre-Analysis-Corpus-Design.xml" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">TEI (Dissertation)</a></div>
</nav>
<div class="w3-overlay w3-hide-large" onclick="w3_close()" style="cursor:pointer" title="close side menu" id="myOverlay"></div>
<div class="w3-main" style="margin-left:450px;margin-top:85px;">
<div class="w3-row w3-padding-32">
<div class="w3-col" style="width: 7%;"> </div>
<div class="w3-col l8 m10 s10" id="ch1">
<h1>1 Introduction</h1>
<p id="p1"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p1">1</a></span>If people are asked about the objects, beings, or events around them,
they will most probably name the categories that the things belong to, for example,
a
book on a shelf, a bird in a tree, a dancer on stage, or a thunderstorm in the sky.
Research in cognitive development has shown that even small babies begin to recognize
what is around them in terms of categories when they are about a year old (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Gopnik, Meltzoff, and Kuhl 2009,
79–83<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Gopnik, Alison, Andrew Meltzoff, and Patricia Kuhl.
2009. <em>The Scientist in the Crib. What Early Learning Tells Us About the
Mind.</em> New York: HarperCollins. First published 1999.</span></span>). Paradoxically, however, all objects and beings are unique: “All you
ever see are individual objects: this particular sweet pea, this individual dollar
bill. There is no ‘sweet-peaness’ or ‘dollarhood’ in the world. So how could it ever
be informative to say that this individual thing belongs to this nonexistent,
mythical category, when the individual thing itself is all we ever actually
experience?” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Gopnik, Meltzoff, and
Kuhl 2009, 79<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Gopnik, Alison, Andrew Meltzoff, and Patricia Kuhl.
2009. <em>The Scientist in the Crib. What Early Learning Tells Us About the
Mind.</em> New York: HarperCollins. First published 1999.</span></span>). Categorizing serves a basic need of humans to confer meaning
to what they perceive and to leave aside the individuality of things. It helps them
to grasp the world around them. However, the perception of the individual is also
dependent on the understanding of the general, so that what is special about
something emerges from the background of the familiar.</p>
<p id="p2"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p2">2</a></span>Literary texts are no exception. One type of category that they are
commonly associated with is genre. A poem is something different than a drama, and
a
science fiction novel is not to be confused with a sentimental one. One comes across
literary genres in everyday life, for example, as an organizing principle in a
bookstore, in a library, or on the covers of the books themselves. Experiences in
daily life usually suggest that the assignment of individual texts to genres does
not
cause particular problems, only that one might be disappointed, surprised, or
impressed when the book bought is different than expected by its genre label. In
literary theory and its antecedents, however, the “genre problem” has been discussed
intensely for thousands of years, starting with the attempt of Aristotle and Plato
to
formulate a theory of poetry (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Zymner 2003,
10<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Zymner, Rüdiger. 2003. <em>Gattungstheorie. Probleme und
Positionen der Literaturwissenschaft.</em> Paderborn: mentis.</span></span>). Some of the main questions in the debates about genre are as what type
of category they can be conceived: as logical classes with clear boundaries into
which all the literary works can neatly be sorted? As prototypical categories with
exemplary masterpieces at the center and mediocre imitations at the edge? As networks
of related texts that form generic families? Or as some other kind of category that
can be described as a combination of necessary and optional features?<sup id="ftn1" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn1-modal').style.display='block'">1</sup>
Moreover, it has been debated if genres can be assumed to exist at all beyond pure
naming conventions, given that the literary works associated with them can be so
different. This is connected to the problem of genre change and also dependence on
the cultural context because literary historians must deal with the phenomenon that
the same names of genres are applied to phenomena with quite distinct textual
characteristics across time and place. At times it has been tried to avoid the
challenges that genres as categories of literary texts pose by denying their
relevance altogether (for example, by <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Croce
1905<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Croce, Benedetto. 1905. <em>Aesthetik als Wissenschaft
des Ausdrucks und allgemeine Linguistik. Theorie und Geschichte.</em>
Leipzig: E.A. Seemann.</span></span>). However, the practical relevance that genres have not only in daily
life but also for students of literature and literary scholars cannot be denied.
Topics of courses and exams are often defined in terms of genres, for example, a
seminar on the Spanish picaresque novel or classic drama. Literary histories are also
often structured in terms of genres that were important for certain periods. Finally,
the interpretation of individual literary works does not happen in a vacuum. In order
to assess the value of single texts, they are often examined with regard to a
specific literary tradition or genre (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Keckeis and Michler 2020, 7–8<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Keckeis, Paul, and Werner Michler. 2020.
“Einleitung: Gattungen und Gattungstheorie.” In <em>Gattungstheorie</em>,
edited by Paul Keckeis and Werner Michler, 7–48. Berlin: Suhrkamp.</span></span>). As a way to
approach the genre problem theoretically, there is a tendency in recent literary
genre theory to see the phenomenon as one that can be described in different
dimensions that are linked to each other in cognitive, communicative, social, and
textual dimensions (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Gymnich and
Neumann 2007<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Gymnich, Marion, and Birgit Neumann. 2007.
“Vorschläge für eine Relationierung verschiedener Aspekte und Dimensionen des
Gattungskonzepts: Der Kompaktbegriff Gattung.” In <em>Gattungstheorie und
Gattungsgeschichte</em>, edited by Marion Gymnich, Birgit Neumann, and Ansgar
Nünning, 31–52. Trier: WVT.</span></span>).</p>
<p id="p3"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p3">3</a></span>This dissertation aims to enter the theoretical discussion about genres
from an interdisciplinary perspective. It is located in the field of digital literary
stylistics, which is part of the wider discipline of digital humanities, in which
humanities research is combined with methods from information science and computer
science, and which includes interdisciplinary disciplines such as computational
linguistics, computational philology, or computational literary studies. The subfield
of digital stylistics is concerned with the analysis of linguistic and literary style
with computational methods. An important subject is the investigation of the style
of
individual authors, but genre style has also been the focus of digital stylists.<sup id="ftn2" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn2-modal').style.display='block'">2</sup> To examine genre on the level of
style means that the approach is primarily text-centered, and it also entails
empirical work.</p>
<p id="p4"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p4">4</a></span>Digital literary stylistics is not exclusively but predominantly applied
research. The basis for it are digital corpora of literary texts, which are designed
for a specific language, period, set of authors, or genre, or combinations of several
ones of them if the aim is a contrastive analysis. The topic of this dissertation
is,
therefore, genre analysis and corpus design, both as a theoretical discussion of
genre as a concept in literary theory and digital stylistics and as an empirical
corpus study. A specific corpus was built for this purpose as a basis for an analysis
of metadata and texts in terms of genre. The genres that the empirical part of this
study is concerned with are the novel and its subgenres in the context of
nineteenth-century Spanish-American literature, more precisely Argentine, Cuban, and
Mexican novels that were published between 1830 and 1910. There is a growing number
of digital stylistic studies concerned with texts in Romance languages, as the
contributions to the conference “Digital Stylistics in Romance Studies and Beyond”,
which took place at the University of Würzburg in 2019, show.<sup id="ftn3" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn3-modal').style.display='block'">3</sup> Nevertheless, most of the digital stylistic studies on
literary texts are still based on corpora of texts in English.<sup id="ftn4" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn4-modal').style.display='block'">4</sup> Comprehensive central repositories
of digital literary texts, which are curated following scholarly standards, such as
the Digital Library in the TextGrid Repository (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">TextGrid n.d.<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">TextGrid, ed. n.d. “The Digital Library in the TextGrid
Repository.” TextGrid. Virtuelle Forschungsumgebung für die Geisteswissenschaften.
<a href="https://web.archive.org/web/20221106162919/https://textgrid.de/en/digitale-bibliothek">https://web.archive.org/web/20221106162919/https://textgrid.de/en/digitale-bibliothek</a>.</span></span>) or the German Text Archive (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Berlin-Brandenburgische Akademie der
Wissenschaften 2022<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Berlin-Brandenburgische Akademie der Wissenschaften, ed.
2022. “Deutsches Textarchiv. Grundlage für ein Referenzkorpus der neuhochdeutschen
Sprache.” DTA. Accessed November 6, 2022. <a href="https://web.archive.org/web/20221106163539/https://www.deutschestextarchiv.de/">https://web.archive.org/web/20221106163539/https://www.deutschestextarchiv.de/</a>.</span></span>) for German texts, are not yet available for Spanish
literary works. There are, however, initiatives that also promote the building of
corpora of literary texts in Spanish, many of which go back to individual work,
community initiatives, or research projects, for example, the “Corpus of Spanish
Golden-Age Sonnets” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Navarro-Colorado, Ribes Lafoz, and Sánchez 2016<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Navarro-Colorado, Borja, María Ribes
Lafoz, and Noelia Sánchez. 2016. “Metrical annotation of a large corpus of Spanish
sonnets: representation, scansion and evaluation.” In <em>Proceedings of the
Tenth International Conference on Language Resources and Evaluation
(LREC’16)</em>, 4360–4364. Portorož, Slovenia: European Language Resources
Association (ELRA). <a href="http://web.archive.org/web/20220315081224/https://aclanthology.org/L16-1691.pdf">http://web.archive.org/web/20220315081224/https://aclanthology.org/L16-1691.pdf</a>.</span></span>; <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Navarro-Colorado 2020<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Navarro-Colorado, Borja, ed. 2020. “Corpus of
Spanish Golden-Age Sonnets.” Version 1.0.0. GitHub.com. Accessed December 6, 2022.
<a href="https://github.com/bncolorado/CorpusSonetosSigloDeOro">https://github.com/bncolorado/CorpusSonetosSigloDeOro</a>.</span></span>) or the multi-language
corpora DraCor (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Fischer et al.
2019<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Fischer, Frank, Ingo Börner, Mathias Göbel,
Angelika Hechtl, Christopher Kittel, Carsten Milling, and Peer Trilcke. 2019.
“Programmable Corpora: Introducing DraCor, an Infrastructure for the Research on
European Drama.” In <em>Proceedings of DH2019: ‘Complexities’.</em> Utrecht:
Utrecht University. <a href="http://web.archive.org/web/20220303001044/https://dev.clariah.nl/files/dh2019/boa/0268.html">http://web.archive.org/web/20220303001044/https://dev.clariah.nl/files/dh2019/boa/0268.html</a>.</span></span>, <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">n.d.<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Fischer, Frank, Peer Trilcke, Julia Jennifer Beine,
and Boris Orekhov, eds. n.d. “Drama Corpora Project.” Accessed December 6, 2022.
<a href="https://dracor.org/">https://dracor.org/</a>.</span></span>) and ELTEC
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Odebrecht, Burnard, and
Schöch 2021<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Odebrecht, Carolin, Lou Burnard, and Christof
Schöch, eds. 2021. “European Literary Text Collection (ELTeC).” Version 1.1.0.
COST Action Distant Reading for European Literary History (CA16204). <a href="https://doi.org/10.5281/zenodo.4662444">https://doi.org/10.5281/zenodo.4662444</a>.</span></span>), which include Spanish drama and novels, respectively. In
addition, the project “Computational Literary Genre Stylistics” (CLiGS), the context
in which this dissertation was written, was concerned with building and analyzing
digital corpora of literary texts in French, Spanish, Italian, and also
Portuguese.<sup id="ftn5" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn5-modal').style.display='block'">5</sup>
Building such corpora is important for several reasons: it strengthens digital
quantitative research in the respective disciplines and language areas, and it helps
to make the empirical results of digital stylistics in general more reliable if they
are based on findings derived from a broad range of different corpora and if they
are
not specific for certain languages or genres.</p>
<p id="p5"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p5">5</a></span>The Spanish-American nineteenth-century novel is well studied, and
knowledge about it is consolidated in literary histories and monographs.<sup id="ftn6" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn6-modal').style.display='block'">6</sup> Various subgenres of
this novel have also been analyzed in depth by literary scholars, for instance, the
historical novel, the anti-slavery novel, or novels of the romantic, naturalistic,
and modernist currents (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Löfquist
1995<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Löfquist, Eva. 1995. <em>La novela histórica chilena
dentro del marco de la novelística chilena. 1843–1879.</em> Göteborg: Acta
Universitatis Gothoburgensis.</span></span>; <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Peñaranda Medina
1994<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Peñaranda Medina, Rosario. 1994. <em>La novela
modernista hispanoamericana.</em> Valencia: Universitat de Valencia.</span></span>; <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Read 1939<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Read, John Lloyd. 1939. <em>The Mexican Historical Novel.
1826–1910.</em> New York: Instituto de las Españas en los Estados
Unidos.</span></span>; <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Rivas 1990<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Rivas, Mercedes. 1990. <em>Literatura y esclavitud en la
novela cubana del siglo XIX.</em> Sevilla: Escuela de Estudios
Hispano-Americanos.</span></span>; <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schlickers 2003<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schlickers, Sabine. 2003. <em>El lado oscuro de la
modernización: estudios sobre la novela naturalista hispanoamericana.</em>
Madrid, Frankfurt: Iberoamericana/Vervuert.</span></span>; <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Suárez-Murias 1963<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Suárez-Murias, Marguerite C. 1963. <em>La novela
romántica en Hispanoamérica.</em> New York: Hispanic Institute in the United
States.</span></span>). However,
nineteenth-century Spanish-American novels and their subgenres have not yet been
analyzed on the basis of a comprehensive digital text corpus and by means of
stylistic computational methods. There are several reasons why a quantitative digital
analysis of the subgenres of that novel is of interest. First, many studies on
nineteenth-century Spanish-American novels focus on selected works that have a
canonical status. The effect is that only a specific section of the whole literary
production of the time forms the basis of the literary-historical knowledge about
the
novel and its subgenres in that period.<sup id="ftn7" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn7-modal').style.display='block'">7</sup> There is also
qualitative research based on larger corpora, but in these cases, scholars mostly
concentrate either on the novel as a whole or on one specific subgenre.<sup id="ftn8" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn8-modal').style.display='block'">8</sup></p>
<p id="p6"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p6">6</a></span>A digital approach in which several subgenres of the novel are contrasted
can contribute new insights into the characteristics of the texts that are
distinctive for the different subgenres. Moreover, more novels can be taken into
account if a comparatively large corpus is used – not only the well-known novels but
also works that have thus far not received much critical attention. This can shed
new
light on the concepts of the subgenres, on the one side because the quantitative
relevance of the subgenres becomes clearer, and on the other side because
lesser-known works possibly represent the subgenres that they are associated with
in
a different way, by use of other textual traits and stylistic means. Third, a
quantitative digital study is different from a qualitative approach even if the same
number of novels and subgenres would be analyzed because the way knowledge about the
texts is extracted and summarized is not directly dependent on the human reader but
results from a mechanical treatment of the texts and computational processing. This
can produce new findings about the subgenres that remain unrecognized by close
reading methods. Even if the nineteenth century is past, the literature of that time
is still of importance because that century marked the rise of the novel as a genre
and the beginning of the national literatures of the different Spanish-American
countries. Many of the subgenres that were practiced or emerged in the nineteenth
century are still relevant in twenty-first-century literature, such as historical
or
crime novels. For digital genre stylistics in general, the subgenres of the
Spanish-American novels are an interesting empirical case because they combined
generic concepts of a European origin with specific local inventions. Especially
regarding literary currents, a neat chronological succession is not given so that
several currents were en vogue at once (on these aspects, see, for instance, <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Varela Jácome [1982]
2000<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Varela Jácome, Benito. (1982) 2000.
<em>Evolución de la novela hispanoamericana en el siglo XIX (en formato
HTML).</em> Alicante: Biblioteca Virtual Miguel de Cervantes. <a href="https://www.cervantesvirtual.com/nd/ark:/59851/bmct14z8">https://www.cervantesvirtual.com/nd/ark:/59851/bmct14z8</a>.</span></span>). It is an interesting question to what extent different theoretical
concepts of genre categories are suitable to capture the various nineteenth-century
Spanish-American subgenres.</p>
<p id="p7"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p7">7</a></span>Although this dissertation is concerned with texts in Spanish, it is
written in English because the field of digital genre stylistics and digital
humanities in general is highly interdisciplinary. The aim is to provide results that
can be appreciated by scholars of Spanish-American literature but also by digital
humanists from around the world. A second linguistic and cultural background of this
thesis is German, and much research literature from German-speaking countries has
been taken into account, especially literature on genre theory but also digital
stylistics papers and research on the Spanish-American novel. In general, quotes are
not translated, assuming that the context provides enough information to grasp their
meaning.</p>
<p id="p8"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p8">8</a></span>Before the specific goals and questions of this thesis and its structure
are outlined, it must be clarified what is not covered here. The period that is
covered is 1830 to 1910, the whole long nineteenth century, but the corpus of novels
that is analyzed is treated as a synchronic one. In the discussion of results, the
publication date of the novels has been taken into account to see if that had an
influence on the results, but no inherently diachronic analysis of the subgenres is
pursued here. A second aspect that is not addressed fully at the moment of the
publication of this thesis is the one of sustainable research data management in
connection with the publication of the corpus. Its basic publication strategy is
presented, and it is published in Open Access and in standard formats in a public
code repository on GitHub and Zenodo, including versioning, but the publication
method is not discussed explicitly in relationship to the FAIR principles (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Wilkinson et al. 2016<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Wilkinson, Mark D., Michel Dumontier, IJsbrand
Jan Aalbersberg, Gabrielle Appleton, Myles Axton, Arie Baak, Niklas Blomberg, et
al. 2016. “The FAIR Guiding Principles for Scientific Data Management and
Stewardship.” <em>Scientific Data</em> 3. <a href="https://doi.org/10.1038/sdata.2016.18">https://doi.org/10.1038/sdata.2016.18</a>.</span></span>) or
other best practices for research data publication. In the longer term, it is planned
to prepare the corpus for long-term preservation and accessibility in suitable
institutional or subject-specific repositories, but in the context of this
dissertation, the initial focus was on its creation, analysis, and basic availability
for transparency and re-use.</p>
<p id="p9"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p9">9</a></span>As mentioned above, the main goals of this dissertation are firstly in
the area of genre theory, secondly in the construction of a digital corpus of novels,
and thirdly in its computer-assisted analysis. The theoretical foundations of the
thesis are clarified in <a href="ch2.html">chapter 2</a>,
“Concepts”. On the level of genre theory (<a href="ch2.html#ch2.1">chapter 2.1</a>, “Literary Genres”), the aim is to work out which of the
existing concepts of the ontological status of genres (<a href="ch2.html#ch2.1.2">chapter 2.1.2</a>, “Ontological Status and Relevance of
Genres”) and their historical and theoretical nature (<a href="ch2.html#ch2.1.3">chapter 2.1.3</a>, “System and History”) are relevant and
applicable and how these concepts need to be adapted for digital genre stylistics.
In
this context, three aspects are specifically addressed. The first aspect is the
question of how generic terms can be modeled and defined. This is an important issue
because genre labels are the main feature through which genre conventions enter a
digital stylistic text analysis. This aspect is deepened in chapters <a href="ch2.html#ch2.1.2.1">2.1.2.1</a> (“Semiotic Models of Genres”)
and <a href="ch2.html#ch2.1.2.2">2.1.2.2</a> (“Genres and Digital Genre
Stylistics: The Roles of Corpora, Genre Labels, Features, and Text Style”). Second,
definitions of genre and text types stemming from literary theory and linguistics
are
compared to see to what degree they are suitable for digital stylistics. In
particular, the question of how and whether a conventional or historical level of
genre and a textual one should be separated is discussed. An own proposal is made
for
conceptual differentiation in <a href="ch2.html#ch2.1.3.1">chapter
2.1.3.1</a> (“A Conceptual Proposal for Digital Genre Stylistics: Literary Text
Types, Conventional Literary Genres, and Textual Literary Genres”), building on
existing approaches. Third, three main concepts that have been proposed to
conceptualize genres as categories, namely logical classes, prototypical structures,
and family resemblance networks, are related to the distinction between conventional
and textual levels of genre (<a href="ch2.html#ch2.1.4">chapter
2.1.4</a>, “Categorization”). It is then outlined how these three concepts can
be implemented in text-based digital genre analyses by referring to computational
methods of text classification, clustering, and network analysis. The theoretical
part also explains the concept of literary style (<a href="ch2.html#ch2.2">chapter 2.2</a>, “Style”) that underlies the analyses in the
empirical part. Furthermore, the part on concepts is closed by a presentation of
three major thematic subgenres and three literary currents chosen for text analysis
(<a href="ch2.html#ch2.3">chapter 2.3</a>, “Subgenres of the
Nineteenth-Century Spanish-American Novel”). These are the historical novel, the
sentimental novel, and the novel of customs as thematic subgenres, and the romantic
novel, the realist novel, and the naturalistic novel as literary currents. Several
hypotheses are formulated regarding the textual and stylistic characteristics and
coherence expected for these subgenres and currents.</p>
<p id="p10"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p10">10</a></span>The empirical part of the work has two main parts: <a href="ch3.html">chapter 3</a>, “Corpus”, and <a href="ch4.html">chapter 4</a>, “Analysis”. The first main goal of this part has been to build
up a comprehensive digital bibliography of Argentine, Mexican, and Cuban
nineteenth-century novels and a corresponding digital corpus of 256 texts. Both have
been elaborated as a prerequisite and basis for the text analysis of subgenres. The
selection of novels from the three countries is motivated, and the diachronic limits
of the bibliography and the corpus are clarified. General defining characteristics
of
the novel are discussed as a basis for the selection of works for both digital
resources (<a href="ch3.html#ch3.1">chapter 3.1</a>, “Selection
Criteria”). A special focus is on how the subgenre labels were collected, modeled,
and encoded (<a href="ch3.html#ch3.2.3">chapters 3.2.3</a> and <a href="ch3.html#ch3.3.4">3.3.4</a>, “Assignment of Subgenre Labels”,
for the bibliography and the corpus, respectively). An empirically based adaptation
of the semiotic models of Raible (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1980<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Raible, Wolfgang. 1980. “Was sind Gattungen? Eine Antwort
aus semiotischer und textlinguistischer Sicht.” <em>Poetica</em> 12:
320–349.</span></span>) and Schaeffer (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1983<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schaeffer, Jean-Marie. 1983. <em>Qu’est-ce qu’un
genre littéraire?</em> Paris: Seuil.</span></span>), which are also presented in the first chapter on genre theory,
provides the theoretical foundation for the organization of the subgenre labels in
the bibliography and the corpus. The preparation of the bibliography and corpus is
explained in detail, including the availability and usage of bibliographical and
full-text sources, the treatment of the extracted full-texts, the collection of
metadata and text encoding, and the chosen publication strategy. Both resources are
published on the web and offered to other scholars for reuse (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Henny-Krahmer 2017–2021<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Henny-Krahmer, Ulrike, ed. 2017–2021.
“Bib-ACMé. Bibliografía digital de novelas argentinas, cubanas y mexicanas
(1830–1910).” Version 1.2. Zenodo. <a href="https://doi.org/10.5281/zenodo.4453491">https://doi.org/10.5281/zenodo.4453491</a>.</span></span>, <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2021a<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Henny-Krahmer, Ulrike, ed. 2021a. “Corpus de
novelas hispanoamericanas del siglo XIX (conha19).” Version 1.0.1. Zenodo. <a href="https://doi.org/10.5281/zenodo.4766987">https://doi.org/10.5281/zenodo.4766987</a>.</span></span>).</p>
<p id="p11"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p11">11</a></span>The creation of the two collections of data and texts was primarily
motivated by the goal of analyzing subgenres of Spanish-American nineteenth-century
novels with quantitative methods. Therefore the selection of the materials was guided
by the question about the specific subgenres that are the focus of interest here.
However, the bibliography and the corpus also aim to provide a foundation for future
analysis in other contexts. There are aspects of the corpus that are not employed
in
the analyses in this dissertation but are nonetheless presented as relevant for the
design of corpora for digital literary genre studies. Examples are chapter structures
and paragraphs that were encoded in the corpus but not considered in the analysis.
Another example is the separation of direct speech and narrated text, which was
realized only for a part of the corpus and was analyzed only on a test basis. Such
additional encoding prepares for future analyses beyond the scope of this
dissertation. In addition, some structural units of the corpus have already been used
for analyses in the CLiGS project, although they are not the focus of the work
here.<sup id="ftn9" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn9-modal').style.display='block'">9</sup> The digital text corpus created here thus
claims to go beyond limited, project-specific use. It aims to be a <em>community
data collection</em> that can be used by different representatives of a research
community, is suitable for addressing different questions from a specific research
field, is comprehensive, follows discipline-specific standards, and is designed to
be
archived and reusable in the medium term (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schöch 2017a, 224<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schöch, Christof. 2017a. “Aufbau von Datensammlungen.” In
<em>Digital Humanities. Eine Einführung</em>, edited by Fotis Jannidis,
Hubertus Kohle, and Malte Rehbein, 223–233. Stuttgart: J.B. Metzler.</span></span>; <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">National Science Board 2005,
20–21<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">National Science Board, ed. 2005.
“Long-Lived Digital Data Collections Enabling Research and Education in the 21st
Century.” National Science Foundation. <a href="https://web.archive.org/web/20230207100814/https://www.nsf.gov/pubs/2005/nsb0540/nsb0540.pdf">https://web.archive.org/web/20230207100814/https://www.nsf.gov/pubs/2005/nsb0540/nsb0540.pdf</a>. </span></span>).</p>
<p id="p12"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p12">12</a></span>Of the two resources, the bibliography constitutes the sampling frame
for the novels in the corpus, which means that it represents the larger population
of
all the novels that were published between 1830 and 1910 in Argentina, Cuba, and
Mexico. Of course, the bibliography does not contain information about all these
works, as it cannot be known with certainty how many and which novels were published
in that time, but it aspires to approximate that amount of novels. It is then
possible to compare the novels contained in the bibliography to the ones in the
corpus to see how representative the latter is for the novel and its subgenres of
the
chosen years and countries. This is done in the first part of the analysis chapter,
in <a href="ch4.html#ch4.1">chapter 4.1</a>, “Metadata Analysis”. Not
only the question of representativeness is tackled in that chapter, but also which
subgenres on which discursive levels were quantitatively relevant. In addition, it
is
analyzed how the novels can be characterized by other parameters that have a possible
impact on the analysis of genre style, for instance, the narrative perspective of
the
novels or the decades that they were published in. The metadata analysis chapter also
provides a general overview of which authors and works are included in the
bibliography and corpus and to which subgenres the works are assigned. This informs
potential subsequent users of the resources in detail about their content and the
distribution of the content in quantitative terms.</p>
<p id="p13"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p13">13</a></span>The second part of the analysis chapter, <a href="ch4.html#ch4.2">chapter 4.2</a>, “Text Analysis”, is concerned with the text
analysis of the corpus of 256 novels. Two main types of stylistic features are
employed in the analysis: most frequent words (MFW) and topics. In the first part
of
the text analysis chapter (<a href="ch4.html#ch4.2.1">4.2.1</a>,
“Features”), both types of features are presented and it is discussed how they relate
to literary concepts of style and theme. In the second part of the analysis chapter
(<a href="ch4.html#ch4.2.2">4.2.2</a>, “Categorization”), the texts
are categorized, first by statistical classification and then with a family
resemblance network analysis as an alternative categorization approach. The novels
are analyzed on two discursive levels of genre: thematic subgenres and literary
currents. Only the subgenres and currents that are most relevant in quantitative
terms are analyzed in this part. One goal of the text analysis is to show in
empirical experiments how statistical classification and network analysis can be
employed to analyze genres on the textual level in terms of different categorical
concepts. Another goal is to find out if the conventionally, historically, and
theoretically defined thematic subgenres and literary currents can be captured at
all
on the stylistic level of a group of texts, and if yes, how textually coherent the
groups of novels associated with these subgenres are. In the classification setting
(<a href="ch4.html#ch4.2.2.1">chapter 4.2.2.1</a>,
“Classification”), textual coherence means the degree to which the communicatively
established subgenre classifications of the novels can be captured accurately in
terms of textually defined classes, and it is measured in terms of classification
accuracy. A further question is what can be learned about the subgenres and the
individual texts from the errors that the classifier makes.</p>
<p id="p14"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p14">14</a></span>Besides the statistical classification approach, a family resemblance
analysis (<a href="ch4.html#ch4.2.2.2">chapter 4.2.2.2</a>, “Family
Resemblance: Network Analysis”) is pursued. While a classificatory approach assumes
strict boundaries between the various groups of texts, in a network structure, the
focus is on direct and indirect relationships between groups of novels, and the
results are more open. In this context, the question of textual coherence refers to
the extent to which textually based groups of novels in the network are also related
to the same genre or subgenre of novels from a communicative perspective. In this
case, coherence cannot simply be measured with an accuracy value but must be assessed
by evaluating and interpreting the clusters found in the network. That way, the
family resemblance network analysis can also answer questions about the internal
structure of subgenres, and it takes into account factors other than the genre that
may influence the groupings of texts found in the network.</p>
<p id="p15"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p15">15</a></span>Just as for the digital bibliography and text corpus, all Python and
XSLT scripts used to perform the analyses and all associated data are published on
GitHub and Zenodo in script and data repositories (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Henny-Krahmer 2021a<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Henny-Krahmer, Ulrike, ed. 2021a. “Corpus de
novelas hispanoamericanas del siglo XIX (conha19).” Version 1.0.1. Zenodo. <a href="https://doi.org/10.5281/zenodo.4766987">https://doi.org/10.5281/zenodo.4766987</a>.</span></span>, <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2021b<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Henny-Krahmer, Ulrike. 2021b. “Data accompanying
the dissertation ʻGenre analysis and corpus design: 19th century Spanish American
novels (1830–1910)ʼ.” Version 1.0.0. Zenodo. <a href="http://doi.org/10.5281/zenodo.4451928">http://doi.org/10.5281/zenodo.4451928</a>.</span></span>, <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2021c<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Henny-Krahmer, Ulrike. 2021c. “Features for the
classification of Spanish American 19th century novels by subgenre.” Version
1.0.0. Zenodo. <a href="http://doi.org/10.5281/zenodo.4449494">http://doi.org/10.5281/zenodo.4449494</a>.</span></span>, <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2021d<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Henny-Krahmer, Ulrike. 2021d. “Scripts
accompanying the dissertation ʻGenre analysis and corpus design: 19th century
Spanish American novels (1830–1910)ʼ.” Version 1.0.0. Zenodo. <a href="https://doi.org/10.5281/zenodo.4445877">https://doi.org/10.5281/zenodo.4445877</a>.</span></span>). From the text of this dissertation,
links are always provided to the relevant individual scripts and data in these
repositories. Selected result data are also included directly in the text in the form
of XML examples, tables, and figures. This book is, therefore, to be understood as
an
enhanced monograph: the text is a chain of argumentation and a narrative that leads
through the data and scripts and becomes complete only with them. In addition, the
text of this dissertation itself has been encoded in TEI and is available in a
web-based HTML format and as a PDF.<sup id="ftn10" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn10-modal').style.display='block'">10</sup> Finally, it must be said that this work
was submitted as a dissertation in early 2021. Updates could be made only partly,
so
in essence, the contents reflect the state of research at the time of
submission.<sup id="ftn11" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn11-modal').style.display='block'">11</sup></p>
</div>
<div class="w3-col w3-rest"></div>
</div>
<div>
<div id="ftn1-modal" class="w3-modal">
<div class="w3-modal-content w3-round w3-display-middle">
<header class="w3-container w3-theme-d2 w3-padding"><span onclick="document.getElementById('ftn1-modal').style.display='none'" class="w3-button w3-display-topright w3-padding">x</span><span class="w3-padding-small">Note</span></header>
<div class="w3-container w3-padding-large">For an overview of the categorization aspect of genres, see Zymner
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2003, 99–104<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Zymner, Rüdiger. 2003. <em>Gattungstheorie. Probleme und
Positionen der Literaturwissenschaft.</em> Paderborn: mentis.</span></span>).</div>
</div>
</div>
<div id="ftn2-modal" class="w3-modal">
<div class="w3-modal-content w3-round w3-display-middle">
<header class="w3-container w3-theme-d2 w3-padding"><span onclick="document.getElementById('ftn2-modal').style.display='none'" class="w3-button w3-display-topright w3-padding">x</span><span class="w3-padding-small">Note</span></header>
<div class="w3-container w3-padding-large">For an introduction to the background and goals of digital literary
stylistics, see the website (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">SIG-DLS
n.d.<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">SIG-DLS. n.d. “Goals.” Digital Literary Stylistics
(SIG-DLS). <a href="http://web.archive.org/web/20221023111813/https://dls.hypotheses.org/activities/about/about">http://web.archive.org/web/20221023111813/https://dls.hypotheses.org/activities/about/about</a>.</span></span>) of the corresponding special interest group of the Alliance of
Digital Humanities Organizations (ADHO).</div>
</div>
</div>
<div id="ftn3-modal" class="w3-modal">
<div class="w3-modal-content w3-round w3-display-middle">
<header class="w3-container w3-theme-d2 w3-padding"><span onclick="document.getElementById('ftn3-modal').style.display='none'" class="w3-button w3-display-topright w3-padding">x</span><span class="w3-padding-small">Note</span></header>
<div class="w3-container w3-padding-large">See
the call for papers (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">CLiGS n.d.<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">CLiGS. n.d. “Call for Papers: Digital Stylistics in Romance
Studies and beyond.” CLiGS – Computergestützte literarische Gattungsstilistik.
Accessed October 23, 2022. <a href="http://web.archive.org/web/20221023113851/https://cligs.hypotheses.org/digital-stylistics-in-romance-studies-and-beyond/call-for-papers">http://web.archive.org/web/20221023113851/https://cligs.hypotheses.org/digital-stylistics-in-romance-studies-and-beyond/call-for-papers</a>.</span></span>) and
the conference proceedings to be published in 2023 (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Hesselbach et al.,
forthcoming<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Hesselbach, Robert, José Calvo Tello,
Ulrike Henny-Krahmer, Christof Schöch, and Daniel Schlör, eds. Forthcoming.
<em>Digital Stylistics in Romance Studies and Beyond.</em> Heidelberg:
Heidelberg University Publishing.</span></span>).</div>
</div>
</div>
<div id="ftn4-modal" class="w3-modal">
<div class="w3-modal-content w3-round w3-display-middle">
<header class="w3-container w3-theme-d2 w3-padding"><span onclick="document.getElementById('ftn4-modal').style.display='none'" class="w3-button w3-display-topright w3-padding">x</span><span class="w3-padding-small">Note</span></header>
<div class="w3-container w3-padding-large">See, for instance, the influential studies of Jockers (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2013<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Jockers, Matthew L. 2013. <em>Macroanalysis. Digital
Methods & Literary History.</em> Topics in the Digital Humanities.
Urbana, Chicago, and Springfield: University of Illinois Press.</span></span>) and Underwood (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2019<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Underwood, Ted. 2019. <em>Distant Horizons: Digital
Evidence and Literary Change.</em> Chicago: The University of Chicago
Press.</span></span>).</div>
</div>
</div>
<div id="ftn5-modal" class="w3-modal">
<div class="w3-modal-content w3-round w3-display-middle">
<header class="w3-container w3-theme-d2 w3-padding"><span onclick="document.getElementById('ftn5-modal').style.display='none'" class="w3-button w3-display-topright w3-padding">x</span><span class="w3-padding-small">Note</span></header>
<div class="w3-container w3-padding-large">One outcome of the project is the Textbox, a
collection of small to medium-sized corpora of literary texts in Romance languages
of different genres, which are published on GitHub and free to reuse (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schöch, Calvo Tello et
al. 2018<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schöch, Christof, José Calvo Tello,
Ulrike Henny-Krahmer, and Stefanie Popp, eds. 2018. “The CLiGS textbox.” Version
4.0.0. Zenodo. <a href="https://doi.org/10.5281/zenodo.597430">https://doi.org/10.5281/zenodo.597430</a>.</span></span>, <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2019<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schöch, Christof, José Calvo Tello, Ulrike
Henny-Krahmer, and Stefanie Popp. 2019. “The CLiGS Textbox: Building and Using
Collections of Literary Texts in Romance Languages Encoded in TEI XML.”
<em>Journal of the Text Encoding Initiative.</em> Rolling Issue. <a href="https://doi.org/10.4000/jtei.2085">https://doi.org/10.4000/jtei.2085</a>.</span></span>).
Beyond the Textbox, the following more extensive individual corpora resulting from
the CLiGS project are worth mentioning: the “Corpus of Novels of the Spanish
Silver Age” (CoNSSA, <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Calvo Tello
2021a<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Calvo Tello, José, ed. 2021a. “Corpus of Novels of
the Spanish Silver Age (CoNSSA).” Version 1.0.0. GitHub.com. Accessed December 9,
2022. <a href="https://github.com/cligs/conssa">https://github.com/cligs/conssa</a>.</span></span>) and a text collection of over 800 French dramatic texts (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schöch 2017b<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schöch, Christof, ed. 2017b. “theatreclassique.” Accessed
December 9, 2022. <a href="https://github.com/cligs/theatreclassique">https://github.com/cligs/theatreclassique</a>.</span></span>) derived from the
corpus Théâtre Classique (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Fièvre
2007–2022<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Fièvre, Paul, ed. 2007–2022. “Théâtre Classique.” Accessed
December 10, 2022. <a href="https://www.theatre-classique.fr">https://www.theatre-classique.fr</a>.</span></span>). The latter is also available as part of the multilingual
DraCor corpus, where it is called FreDraCor (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Milling, Fischer, and Göbel 2021<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Milling, Carsten, Frank Fischer, and Mathias Göbel,
eds. 2021. “French Drama Corpus (FreDraCor): A TEI P5 Version of Paul Fièvre's
ʻThéâtre Classiqueʼ Corpus.” GitHub.com. Accessed December 9, 2022. <a href="https://github.com/dracor-org/fredracor">https://github.com/dracor-org/fredracor</a>.</span></span>).</div>
</div>
</div>
<div id="ftn6-modal" class="w3-modal">
<div class="w3-modal-content w3-round w3-display-middle">
<header class="w3-container w3-theme-d2 w3-padding"><span onclick="document.getElementById('ftn6-modal').style.display='none'" class="w3-button w3-display-topright w3-padding">x</span><span class="w3-padding-small">Note</span></header>
<div class="w3-container w3-padding-large">For general literary histories on Spanish-American literature that
also cover the nineteenth-century novel and for specialized monographs, see, among
others, Alegría (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1959<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Alegría, Fernando. 1959. <em>Breve historia de la
novela hispanoamericana.</em> México: Ed. de Andrea.</span></span>), Anderson
Imbert (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1954<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Anderson Imbert, Enrique. 1954. <em>Historia de
la literatura hispanoamericana.</em> México: Fondo de Cultura
Económica.</span></span>), Dill
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1999<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Dill, Hans-Otto. 1999. <em>Geschichte der
lateinamerikanischen Literatur im Überblick.</em> Stuttgart: Reclam.</span></span>), Gálvez (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1990<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Gálvez, Marina. 1990. <em>La novela hispanoamericana
(hasta 1940).</em> Madrid: Taurus.</span></span>), Goić (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2009<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Goić, Cedomil. 2009. <em>Brevísima relación de la historia
de la novela hispanoamericana.</em> Madrid: Biblioteca Nueva.</span></span>), Íñigo Madrigal, Alvar, and Aínsa (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1982<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Íñigo Madrigal, Luis, Manuel Alvar, and
Fernando Aínsa, eds. 1982. <em>Historia de la literatura
hispanoamericana.</em> 3 vols. Madrid: Cátedra.</span></span>), Lindstrom
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2004<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Lindstrom, Naomi. 2004. <em>Early Spanish American
Narrative.</em> Austin: University of Texas Press.</span></span>), Rössner (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2007<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Rössner, Michael. 2007. <em>Lateinamerikanische
Literaturgeschichte.</em> 3rd ed. Stuttgart, Weimar: J.B. Metzler.</span></span>), and Sánchez (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1953<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Sánchez, Luis Alberto. 1953. <em>Proceso y contenido de
la novela hispano-americana.</em> Madrid: Editorial Gredos.</span></span>).</div>
</div>
</div>
<div id="ftn7-modal" class="w3-modal">
<div class="w3-modal-content w3-round w3-display-middle">
<header class="w3-container w3-theme-d2 w3-padding"><span onclick="document.getElementById('ftn7-modal').style.display='none'" class="w3-button w3-display-topright w3-padding">x</span><span class="w3-padding-small">Note</span></header>
<div class="w3-container w3-padding-large">Rivas (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1990<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Rivas, Mercedes. 1990. <em>Literatura y esclavitud en la
novela cubana del siglo XIX.</em> Sevilla: Escuela de Estudios
Hispano-Americanos.</span></span>), for instance, establishes the
concept of the anti-slavery novel based on seven different novels. Gnutzmann (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1998<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Gnutzmann, Rita. 1998. <em>La novela naturalista en
Argentina (1880–1900).</em> Amsterdam, Atlanta: Rodopi.</span></span>) as well studies the
Argentine naturalistic novel with a corpus of seven texts.</div>
</div>
</div>
<div id="ftn8-modal" class="w3-modal">
<div class="w3-modal-content w3-round w3-display-middle">
<header class="w3-container w3-theme-d2 w3-padding"><span onclick="document.getElementById('ftn8-modal').style.display='none'" class="w3-button w3-display-topright w3-padding">x</span><span class="w3-padding-small">Note</span></header>
<div class="w3-container w3-padding-large">For example, Löfquist (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1995<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Löfquist, Eva. 1995. <em>La novela histórica chilena
dentro del marco de la novelística chilena. 1843–1879.</em> Göteborg: Acta
Universitatis Gothoburgensis.</span></span>) on the Chilean historical novel, Read (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1939<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Read, John Lloyd. 1939. <em>The Mexican Historical Novel.
1826–1910.</em> New York: Instituto de las Españas en los Estados
Unidos.</span></span>) on the Mexican historical novel, or Schlickers
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schlickers 2003<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schlickers, Sabine. 2003. <em>El lado oscuro de la
modernización: estudios sobre la novela naturalista hispanoamericana.</em>
Madrid, Frankfurt: Iberoamericana/Vervuert.</span></span>) on the
Spanish-American naturalistic novel. Another approach is to consider the novel as
a whole for an individual country and for a certain period. Lichtblau (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1959<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Lichtblau, Myron I. 1959. <em>The Argentine Novel in
the Nineteenth Century.</em> New York: Hispanic Institute in the United
States.</span></span>), for example, studies the
nineteenth-century novel in Argentina, and Molina (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2011<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Molina, Hebe Beatriz. 2011. <em>Como crecen los hongos.
La novela argentina entre 1838 y 1872.</em> Buenos Aires: Teseo.</span></span>) the Argentine novel between 1838 and
1872.</div>
</div>
</div>
<div id="ftn9-modal" class="w3-modal">
<div class="w3-modal-content w3-round w3-display-middle">
<header class="w3-container w3-theme-d2 w3-padding"><span onclick="document.getElementById('ftn9-modal').style.display='none'" class="w3-button w3-display-topright w3-padding">x</span><span class="w3-padding-small">Note</span></header>
<div class="w3-container w3-padding-large">There are two studies based on subparts of the corpus in
which the internal structure of the texts was exploited: Schöch, Henny et al.
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2016<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schöch, Christof, Ulrike Henny, José Calvo
Tello, Daniel Schlör, and Stefanie Popp. 2016. “Topic, Genre, Text. Topics im
Textverlauf von Untergattungen des spanischen und hispanoamerikanischen Romans
(1880–1930).” In <em>DHd 2016. Modellierung, Vernetzung, Visualisierung. Die
Digital Humanities als fächerübergreifendes Forschungsparadigma.
Konferenzabstracts</em>, 235–239. Leipzig: Universität Leipzig. <a href="https://doi.org/10.5281/zenodo.4645380">https://doi.org/10.5281/zenodo.4645380</a>.</span></span>) on the
development of topics in different parts of the novels, depending on the
subgenres, and Henny-Krahmer (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2018<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Henny-Krahmer, Ulrike. 2018. “Exploration of
Sentiments and Genre in Spanish American Novels.” In <em>Digital Humanities
2018. Puentes–Bridges. Book of Abstracts. Mexico City, 26–29 June 2018</em>,
399–403. Mexico City: Red de Humanidades Digitales. <a href="https://web.archive.org/web/20200702225303/https://dh2018.adho.org/exploration-of-sentiments-and-genre-in-spanish-american-novels/">https://web.archive.org/web/20200702225303/https://dh2018.adho.org/exploration-of-sentiments-and-genre-in-spanish-american-novels/</a>.</span></span>) on the connection of sentiments and direct speech versus narrated
text in different subgenres.</div>
</div>
</div>
<div id="ftn10-modal" class="w3-modal">
<div class="w3-modal-content w3-round w3-display-middle">
<header class="w3-container w3-theme-d2 w3-padding"><span onclick="document.getElementById('ftn10-modal').style.display='none'" class="w3-button w3-display-topright w3-padding">x</span><span class="w3-padding-small">Note</span></header>
<div class="w3-container w3-padding-large">The web-based edition of this
dissertation can be accessed at <a href="https://side17.i-d-e.de/">https://side17.i-d-e.de/</a>.</div>
</div>
</div>
<div id="ftn11-modal" class="w3-modal">
<div class="w3-modal-content w3-round w3-display-middle">
<header class="w3-container w3-theme-d2 w3-padding"><span onclick="document.getElementById('ftn11-modal').style.display='none'" class="w3-button w3-display-topright w3-padding">x</span><span class="w3-padding-small">Note</span></header>
<div class="w3-container w3-padding-large">In the meantime, for example, the dissertation of
my co-doctoral student José Calvo Tello from the CLiGS project has been published
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Calvo Tello 2021b<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Calvo Tello, José. 2021b. <em>The Novel in the
Spanish Silver Age. A Digital Analysis of Genre Using Machine Learning.</em>
Digital Humanities Research, vol. 4. Bielefeld: Bielefeld University Press. <a href="https://doi.org/10.14361/9783839459256">https://doi.org/10.14361/9783839459256</a>.</span></span>), the
content of which could not be considered here because the dissertations were
prepared at the same time. Due to the joint research project in which the two
theses were written, there are, of course, common foundations and references
between them.</div>
</div>
</div>
</div>
<div></div>
<footer id="myFooter">
<div class="w3-container w3-theme-l2 w3-padding-32">
<p>Henny-Krahmer, Ulrike. 2023. <em>Genre Analysis and Corpus Design.
Nineteenth-Century Spanish-American Novels (1830–1910).</em> HTML version, v1.0.1.
Schriften des Instituts für Dokumentologie und Editorik 17. Berlin: IDE.
DOI: <a href="https://doi.org/10.5281/zenodo.8169081">10.5281/zenodo.8169081</a></p>
</div>
<div class="w3-container w3-theme-l1">
<p><span style="display: inline-block; padding-right: 10px;"><a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" src="https://ride.i-d-e.de/wp-content/uploads/cc-by.png" width="55"></a></span><a href="imprint.html">Publishing Policy, Imprint and Privacy</a></p>
</div>
</footer>
</div><script>
// Get the Sidebar
var mySidebar = document.getElementById("mySidebar");
// Get the DIV with overlay effect
var overlayBg = document.getElementById("myOverlay");
// Toggle between showing and hiding the sidebar, and add overlay effect
function w3_open() {
if (mySidebar.style.display === 'block') {
mySidebar.style.display = 'none';
overlayBg.style.display = "none";
} else {
mySidebar.style.display = 'block';
overlayBg.style.display = "block";
}
}
// Close the sidebar with the close button
function w3_close() {
mySidebar.style.display = "none";
overlayBg.style.display = "none";
}
function myAccFunc(id) {
var x = document.getElementById(id);
if (x.className.indexOf("w3-show") == -1) {
x.className += " w3-show";
x.previousElementSibling.className += " w3-blue-grey";
} else {
x.className = x.className.replace(" w3-show", "");
x.previousElementSibling.className =
x.previousElementSibling.className.replace(" w3-blue-grey", "");
}
}
window.onload, window.onhashchange = function(){
var hash = window.location.hash;
var hash_id = hash.substring(1);
var x = document.getElementById("menuAcc"+hash_id);
if (x.className.indexOf("w3-blue-grey") == -1) {
x.className += " w3-blue-grey w3-show";
x.closest(".w3-bar-block.w3.hide").className.replace("w3-hide","w3-show");
}
var y = document.getElementById("menu"+hash_id);
if (y.className.indexOf("w3-blue-grey") == -1) {
y.className += " w3-blue-grey";
}
};
</script></body>
</html>