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<!DOCTYPE HTML><html lang="en">
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<title>Genre Analysis and Corpus Design: Nineteenth-Century Spanish-American Novels (1830–1910)</title>
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<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>
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<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 " 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>
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</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>
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</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>
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</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 w3-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>
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<h1>Notes</h1>
<p><a href="ch1.html#ftn1">1.</a> 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>).</p>
<p><a href="ch1.html#ftn2">2.</a> 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).</p>
<p><a href="ch1.html#ftn3">3.</a> 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>).</p>
<p><a href="ch1.html#ftn4">4.</a> 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>).</p>
<p><a href="ch1.html#ftn5">5.</a> 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>).</p>
<p><a href="ch1.html#ftn6">6.</a> 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>).</p>
<p><a href="ch1.html#ftn7">7.</a> 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.</p>
<p><a href="ch1.html#ftn8">8.</a> 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.</p>
<p><a href="ch1.html#ftn9">9.</a> 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.</p>
<p><a href="ch1.html#ftn10">10.</a> 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>.</p>
<p><a href="ch1.html#ftn11">11.</a> 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.</p>
<p><a href="ch2.html#ftn12">12.</a> For a general introduction to
the notion of genre in literary and cultural studies, see Frow (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2015<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">Frow, John. 2015. <em>Genre. The New Critical
Idiom.</em> 2nd ed. London: Routledge.</span></span>). Genres, in general, are
relevant to all the fields in the humanities, for example, linguistics,
history, cultural studies, media studies, musicology, and art history.
Introductions to genre studies from non-literary backgrounds include Lacey
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">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">Lacey, Nick. 2000. <em>Narrative and Genre: Key Concepts
in Media Studies.</em> Basingstoke: Macmillan.</span></span>) (media studies)
and Bawarshi and Reiff (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2010<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">Bawarshi, Anis S., and Mary Jo Reiff. 2010.
<em>Genre: An Introduction to History, Theory, Research, and Pedagogy.</em>
West Lafayette: Parlor Press and the WAC Clearinghouse. <a href="https://web.archive.org/web/20230210055352/https://wac.colostate.edu/docs/books/bawarshi_reiff/genre.pdf">https://web.archive.org/web/20230210055352/https://wac.colostate.edu/docs/books/bawarshi_reiff/genre.pdf</a>.</span></span>) (rhetorics and applied linguistics).</p>
<p><a href="ch2.html#ftn13">13.</a> See, amongst others, Fubini (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1971, 24–27<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">Fubini, Mario. 1971. <em>Entstehung und Geschichte der
literarischen Gattungen.</em> Tübingen: Max Niemeyer Verlag.</span></span>) and García
Berrio and Huerta Calvo (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2009, 94<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">García Berrio, Antonio, and Javier
Huerta Calvo. 2009. <em>Los géneros literarios: sistema e historia. Una
introducción.</em> 5th ed. Madrid: Cátedra.</span></span>). See also
Behrens (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1940<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">Behrens, Irene. 1940. <em>Die Lehre von der Einteilung
der Dichtkunst. Vornehmlich vom 16. bis 19. Jahrhundert.</em> Halle/Saale:
Max Niemeyer Verlag.</span></span>), who
examines the history of the traditional classification of literature into
lyric, epic, and drama and finds that triadic classifications in themselves
have been found since Plato.</p>
<p><a href="ch2.html#ftn14">14.</a> Overviews of genre
theory in the twentieth century include Dubrow (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">[1982] 2014<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">Dubrow, Heather. (1982) 2014. <em>Genre.</em>
Reprint, London: Routledge.</span></span>), Duff (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2010<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">Duff, David, ed. 2010. <em>Modern Genre Theory.</em>
Harlow: Longman.</span></span>), and Gymnich, Neumann, and Nünning (<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">Gymnich, Marion, Birgit Neumann, and
Ansgar Nünning, eds. 2007. <em>Gattungstheorie und Gattungsgeschichte.</em>
Trier: WVT.</span></span>). The
latter also focus on the relationship between genre theory and history. On
this aspect, see as well the earlier publication by Lamping (<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">Lamping, Dieter, ed. 1990. <em>Gattungstheorie und
Gattungsgeschichte: ein Symposium.</em> Wuppertal: Bergische Universität,
Gesamthochschule Wuppertal.</span></span>).</p>
<p><a href="ch2.html#ftn15">15.</a> An early discussion of
linguistic text types can be found in Gülich and Raible (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1972<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">Gülich, Elisabeth, and Wolfgang Raible. 1872.
<em>Textsorten. Differenzierungskriterien aus linguistischer Sicht.</em>
Frankfurt am Main: Athenäum-Verlag.</span></span>). A recent
overview is given in Gansel (<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">Gansel, Christina. 2011.
<em>Textsortenlinguistik.</em> Göttingen: Vandenhoeck &
Ruprecht.</span></span>).</p>
<p><a href="ch2.html#ftn16">16.</a> A
well-known study of genre variation in English texts based on statistical
methods is summarized in Biber (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1993b<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">Biber, Douglas. 1993b. “The Multi-Dimensional Approach to
Linguistic Analyses of Genre Variation: An Overview of Methodology and Findings.”
<em>Computers in the Humanities</em> 26 (5–6): 331–345. <a href="https://doi.org/10.1007/BF00136979">https://doi.org/10.1007/BF00136979</a>.</span></span>). Another influential study of the automatic detection of
text genre from computational linguistics is Kessler, Numberg, and Schütze
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1997<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">Kessler, Brett, Geoffrey Numberg, and Hinrich
Schütze. 1997. “Automatic detection of text genre.” In <em>ACL '98/EACL '98:
Proceedings of the 35th Annual Meeting of the Association for Computational
Linguistics and Eighth Conference of the European Chapter of the Association
for Computational Linguistics</em>, 32–38. Stroudsburg, PA, USA: Association
for Computational Linguistics. <a href="http://dx.doi.org/10.3115/976909.979622">http://dx.doi.org/10.3115/976909.979622</a>.</span></span>).</p>
<p><a href="ch2.html#ftn17">17.</a> For an introduction to text
categorization from the perspective of natural language processing, see
Manning and Schütze (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1999, 575–608<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">Manning, Christopher D., and Hinrich Schütze.
1999. <em>Foundations of Statistical Natural Language Processing.</em>
Cambridge, Mass: The MIT Press.</span></span>).</p>
<p><a href="ch2.html#ftn18">18.</a> Manning and Schütze (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1999, 575<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">Manning, Christopher D., and Hinrich Schütze.
1999. <em>Foundations of Statistical Natural Language Processing.</em>
Cambridge, Mass: The MIT Press.</span></span>) use the
term as a synonym for “classification”. Oakes, in contrast, differentiates
the two terms: “Classification and categorization are distinct concepts.
Classification is the assignment of objects to predefined classes, while
categorization is the initial identification of these classes, and hence
must take place before classification” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Oakes 2003, 95<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">Oakes, Michael P. 2003. <em>Statistics for corpus
linguistics.</em> Edinburgh: Edinburgh Univ. Press.</span></span>). Oakes bases his view on
Thompson and Thompson (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1991<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">Thompson, W., and B. Thompson. 1991.
“Overturning the Category Bucket.” <em>Byte</em> 16 (1): 249–256.</span></span>).</p>
<p><a href="ch2.html#ftn19">19.</a> For an overview of the main
research areas and scope of digital literary studies, see Siemens and
Schreibman (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2008<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">Siemens, Ray, and Susan Schreibman, eds. 2008.
<em>A Companion to Digital Literary Studies.</em> Oxford: Blackwell.</span></span>).</p>
<p><a href="ch2.html#ftn20">20.</a> See, for example, the Journal of Computational
Literary Studies (JCLS; <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Gius, Schöch, and Trilcke
2022–2023<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">Gius, Evelyn, Christof Schöch, and Peer
Trilcke, eds. 2022–2023. Journal of Computational Literary Studies (JCLS).
Darmstadt: Universitäts- und Landesbibliothek Darmstadt. <a href="https://web.archive.org/web/20230210112118/https://jcls.io/">https://web.archive.org/web/20230210112118/https://jcls.io/</a>.</span></span>), whose first issue appeared in 2022, and the annual
conference on the same topic that has been held since 2022. A proposed
definition or description of the field can also be found on the website of
the Kompetenzzentrum – Trier Center for Digital Humanities (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2023<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">Kompetenzzentrum – Trier Center for Digital Humanities.
2023. “Computational Literary Studies. A Bird's Eye View of Literature.” <a href="https://web.archive.org/web/20230210111714/https://tcdh.uni-trier.de/en/thema/computational-literary-studies">https://web.archive.org/web/20230210111714/https://tcdh.uni-trier.de/en/thema/computational-literary-studies</a>. </span></span>).</p>
<p><a href="ch2.html#ftn21">21.</a> For the
traditional key issues of stylometry see Holmes (<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">Holmes, David I. 1998. “The Evolution of Stylometry in
Humanities Scholarship.” <em>Literary and Linguistic Computing</em> 13 (3):
111–117. <a href="https://doi.org/10.1093/llc/13.3.111">https://doi.org/10.1093/llc/13.3.111</a>.</span></span>). Stylometric studies focusing on
literary genre are, for example, Binongo and Smith (<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">Binongo, José Nilo G., and M. W. A. Smith. 1999. “A
Bridge Between Statistics and Literature: The Graphs of Oscar Wilde’s Literary
Genres.” <em>Journal of Applied Statistics</em> 26 (7): 781–787. <a href="https://doi.org/10.1080/02664769922025">https://doi.org/10.1080/02664769922025</a>.</span></span>) and Hettinger et al. (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2015<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"> Hettinger, Lena, Martin Becker, Isabella Reger,
Fotis Jannidis, and Andreas Hotho. 2015. “Genre Classification on German Novels.”
In <em>Proceedings of the 26th International Workshop on Database and Expert
Systems Applications (DEXA)</em>, 249–253. Valencia. <a href="https://doi.org/10.1109/DEXA.2015.62">https://doi.org/10.1109/DEXA.2015.62</a>.</span></span>, <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"> Hettinger, Lena, Isabella Reger, Fotis Jannidis,
and Andreas Hotho. 2016. “Classification of Literary Subgenres.” In <em>DHd2016.
Modellierung – Vernetzung – Visualisierung. Die Digital Humanities als
fächerübergreifendes Forschungsparadigma. Konferenzabstracts. Universität
Leipzig 7. bis 12. März 2016</em>, 160–164. Duisburg: nisaba verlag. <a href="https://doi.org/10.5281/zenodo.4645368">https://doi.org/10.5281/zenodo.4645368</a>.</span></span>). The former
use linguistic features to differentiate between essays and plays written by
Wilde, the latter classify various subgenres of the German novel based on
stylometric, topic-, and network-based features.</p>
<p><a href="ch2.html#ftn22">22.</a> A clear summary
of the main concerns of literary genre theory in the twentieth and
twenty-first centuries and the principal theoretical positions, particularly
in the German-speaking area, can be found in Zymner (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2010, 213–219<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, ed. 2010. <em>Handbuch
Gattungstheorie.</em> Stuttgart: J.B. Metzler.</span></span>). The three genre theoretical
issues addressed here have been selected because they were highlighted by
Zymner and are considered relevant for the discussion of genre analysis and
corpus design in digital stylistics.</p>
<p><a href="ch2.html#ftn23">23.</a> With the
example of the work “La folie du jour”, written by Maurice Blanchot, Derrida
shows how literary texts resist their categorization in terms of genre: “The
genre has always in all genres been able to play the role of order’s
principle: resemblance, analogy, identity and difference, taxonomic
classification, organization and genealogical tree, order of reason, order
of reasons, sense of sense, truth of truth, natural light and sense of
history. Now, the test of <em>An Account</em>? brought to light the
madness of genre. Madness has given birth to and thrown light on the genre
in the most dazzling, most blinding sense of the word. And in the writing of
<em>An Account</em>?, in literature, satirically practicing all
genres, imbibing them but never allowing herself to be saturated with a
catalog of genres, she, madness, has started spinning Peterson’s genre-disc
like a demented sun. And she does not only do so <em>in</em> literature,
for in concealing the boundaries that sunder mode and genre, she has also
inundated and divided the borders between literature and its others” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Derrida 1980, 81<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">Derrida, Jacques. 1980. “The Law of Genre.” Translated by
Avital Ronell. <em>Critical Inquiry</em> 7 (1): 55–81.</span></span>).</p>
<p><a href="ch2.html#ftn24">24.</a> “What interests me is that this re-mark—ever possible for
every text, for every corpus of traces—is absolutely necessary for and
constitutive of what we call art, poetry, or literature. [...] Can one
identify a work of art, of whatever sort, but especially a work of
discursive art, if it does not bear the mark of a genre, if it does not
signal or mention it or make it remarkable in any way?” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Derrida 1980, 64<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">Derrida, Jacques. 1980. “The Law of Genre.” Translated by
Avital Ronell. <em>Critical Inquiry</em> 7 (1): 55–81.</span></span>).</p>
<p><a href="ch2.html#ftn25">25.</a> For an
overview of different genre theories associated with the realistic position,
see Hempfer (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1973,
56–122<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">Hempfer, Klaus W. 1973. <em>Gattungstheorie.
Information und Synthese.</em> München: Fink.</span></span>).</p>
<p><a href="ch2.html#ftn26">26.</a> See for example Cranenburgh and Koolen (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2015<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">Cranenburgh, Andreas van, and Corina Koolen.
2015. “Identifying Literary Texts with Bigrams.” In <em>Proceedings of the
Fourth Workshop on Computational Linguistics for Literature</em>, 58–67.
Denver, Colorado: Association for Computational Linguistics. <a href="http://dx.doi.org/10.3115/v1/W15-0707">http://dx.doi.org/10.3115/v1/W15-0707</a>.</span></span>). The authors analyzed the
literariness of general fiction and genre fiction using machine learning
based on word bi-grams.</p>
<p><a href="ch2.html#ftn27">27.</a> The
former are called “Schreibweisen” by Hempfer and the latter “genres” in a
narrower sense (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Hempfer 1973,
27<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">Hempfer, Klaus W. 1973. <em>Gattungstheorie.
Information und Synthese.</em> München: Fink.</span></span>).</p>
<p><a href="ch2.html#ftn28">28.</a> The corpus-specific model for generic terms is presented
in <a href="ch3.html#ch3.2.3">chapter
3.2.3</a> below.</p>
<p><a href="ch2.html#ftn29">29.</a> See the
chapters <a href="ch3.html#ch3.2.3">3.2.3</a> and <a href="ch3.html#ch3.3.4">3.3.4</a> on the assignment of
subgenre labels to the works in the bibliography and the corpus.</p>
<p><a href="ch2.html#ftn30">30.</a> In his set of terms, Hempfer, for instance,
also includes the term “Sammelbegriff” (“collective term”), which he uses
to designate logically disjunct groups of texts established on any
characteristic: “Genauso wie man ‘Kopf’, ‘Apfel’, ‘Platz’, ‘Tisch’ u.ä.
mit dem Prädikator ‘rund’ belegen und somit eine Klasse von Gegenständen
bilden kann, der die Eigenschaft ‘rund’ zukommt, kann man Texte aufgrund
ihrer Länge, des Vorhandenseins oder Fehlens eines Erzählers, der
Fiktionalität oder Nichtfiktionalität, der Tatsache, ob sie in Vers oder
Prosa geschrieben sind, usw., einer bestimmten Textklasse zuordnen. Wie
das Beispiel der Klassenbildung mit dem Prädikator ‘rund’ darlegen
sollte, braucht eine solche Klassifizierung keineswegs aufgrund von für
die dergestalt klassifizierten Objekte wesentlicher Eigenschaften zu
erfolgen, und dieselben Objekte können, je nach der Eigenschaft, die man
wählt, verschiedenen Klassen zugeordnet werden” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Hempfer 1973, 28<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">Hempfer, Klaus W. 1973. <em>Gattungstheorie.
Information und Synthese.</em> München: Fink.</span></span>). Schaeffer too, when
discussing the problems of differentiating between theoretical and
historical genres, notes that an infinite number of traits can be chosen
to compare texts: “En second lieu, et inversement, le nombre de
caractéristiques selon lesquelles on peut regrouper deux textes
quelconques est indéfini sinon infini. Cela est dû au fait que, lorsqu’on
compare deux textes, on ne part pas de leur <em>identité
numérique</em> (toujours simple), mais de ce que Luis J. Prieto
appelle leur <em>identité spécifique</em> (défini comme un ensemble
de caractéristiques non contradictoires). Or, «comme chaque objet possède
un nombre infini de caractéristiques, il peut posséder un nombre infini
d’identités spécifiques; et comme n’importe quelle caractéristique que
présente un objet donné peut toujours aussi faire partie des
caractéristiques d’un autre objet, chaque objet peut partager n’importe
laquelle de ses identités spécifiques avec un nombre infini d’autres
objets 3»” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schaeffer 1983,
67–68<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>). The potential arbitrariness of the textual features that
describe a text category is thus an important point to consider when text
classification as a computational activity is used to determine literary
genres.</p>
<p><a href="ch2.html#ftn31">31.</a> He differentiates between “detective fiction”,
“science fiction”, and “Gothic” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Underwood 2016, 4<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. 2016. “The Life Cycles of Genres.”
<em>Journal of Cultural Analytics</em> 2 (2). <a href="https://doi.org/10.22148/16.005">https://doi.org/10.22148/16.005</a>.</span></span>).</p>
<p><a href="ch2.html#ftn32">32.</a> Underwood’s method is
predictive modeling with L2-regularized logistic regression based on the
top 10,000 word features in the text collection (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Underwood 2016, 7<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. 2016. “The Life Cycles of Genres.”
<em>Journal of Cultural Analytics</em> 2 (2). <a href="https://doi.org/10.22148/16.005">https://doi.org/10.22148/16.005</a>.</span></span>). The findings of his
article from 2016 have been integrated into his book “Distant Horizons”
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Underwood 2019,
34–67<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>).</p>
<p><a href="ch2.html#ftn33">33.</a> The case of Underwood is an example of a
clear definition and transparent documentation of the target genre
convention: “To investigate these questions, I’ve gathered lists of
titles assigned to a genre in eighteen different sites of reception. Some
of these lists reflect recent scholarly opinion, some were defined by
writers or editors earlier in the twentieth century, others reflect the
practices of many different library catalogers (see Appendix A) [...] By
comparing groups of texts associated with different sites of reception
and segments of the timeline, we can ask exactly how stable different
categories have been” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Underwood 2016, 4<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. 2016. “The Life Cycles of Genres.”
<em>Journal of Cultural Analytics</em> 2 (2). <a href="https://doi.org/10.22148/16.005">https://doi.org/10.22148/16.005</a>.</span></span>). In their classification of subgenres of the
German novel, Hettinger et al. also explain that they analyze genre
attributions made by literary scholars: “Literary scholars and common
readers use labels like educational novel, crime novel or adventure novel
to organize the large domain of fiction. In both discourses the use of
these categories is well-established even though they are evolving and
tend to be inconsistent. [...] Our corpus consists of 628 German novels
mainly from the nineteenth century [...]. The novels have been manually
labeled according to their subgenre after research in literary lexica and
handbooks” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Hettinger
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"> Hettinger, Lena, Isabella Reger, Fotis Jannidis,
and Andreas Hotho. 2016. “Classification of Literary Subgenres.” In <em>DHd2016.
Modellierung – Vernetzung – Visualisierung. Die Digital Humanities als
fächerübergreifendes Forschungsparadigma. Konferenzabstracts. Universität
Leipzig 7. bis 12. März 2016</em>, 160–164. Duisburg: nisaba verlag. <a href="https://doi.org/10.5281/zenodo.4645368">https://doi.org/10.5281/zenodo.4645368</a>.</span></span>). Kim et al. also explain the provenience of the
genre labels in their investigation of the prototypical emotion
developments in literary genres: “We collect 2113 books from Project
Gutenberg that belong to five genres found in the Brown corpus [...]
namely adventure (585 books), romance (383 books), mystery (380 books),
science fiction (562 books), and humorous fiction (203 books). [...] The
selection is based on the Library of Congress Subject Headings in the
metadata” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Kim,
Padó, and Klinger 2017<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">Kim, Evgeny, Sebastian Padó, and Roman Klinger.
2017. “Prototypical Emotion Developments in Literary Genres.” <em>DH2017.
Conference Abstracts.</em> Montréal: McGill University & Université de
Montréal. <a href="https://web.archive.org/web/20230211105146/https://dh2017.adho.org/abstracts/203/203.pdf">https://web.archive.org/web/20230211105146/https://dh2017.adho.org/abstracts/203/203.pdf</a>.</span></span>). A case in which the provenience of the
generic assignments to the texts remains implicit is Schöch (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2017c<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. 2017c. “Topic Modeling Genre: An
Exploration of French Classical and Enlightenment Drama.” <em>Digital Humanities
Quarterly</em> 11 (2). <a href="https://web.archive.org/web/20230211105751/http://www.digitalhumanities.org/dhq/vol/11/2/000291/000291.html">https://web.archive.org/web/20230211105751/http://www.digitalhumanities.org/dhq/vol/11/2/000291/000291.html</a>.</span></span>). Schöch analyses
subgenres of French Classical and Enlightenment Drama by applying topic
modeling to a corpus of plays that was initially curated by Paul Fièvre
(called the “Théâtre classique” collection). The data which is used in
the analysis is presented in detail, and the subgenres are also
mentioned, but it is not made explicit where the labels that are finally
used come from: “detailed metadata has been added to the texts relating,
for instance, to their historical genre label (e.g. <em>comédie
héroique</em>, <em>tragédie</em>, or <em>opéra-ballet</em>)
as well as the type of thematic and regional inspiration [...]. A large
part of this information can fruitfully be used when applying Topic
Modeling to this text collection. [...] Finally, all the plays included
belong to one of the following subgenres: comedy, tragedy or tragicomedy”
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">para. 9–10<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">Schöch, Christof. 2017c. “Topic Modeling Genre: An
Exploration of French Classical and Enlightenment Drama.” <em>Digital Humanities
Quarterly</em> 11 (2). <a href="https://web.archive.org/web/20230211105751/http://www.digitalhumanities.org/dhq/vol/11/2/000291/000291.html">https://web.archive.org/web/20230211105751/http://www.digitalhumanities.org/dhq/vol/11/2/000291/000291.html</a>.</span></span>).
Looking into the TEI collection on GitHub (e.g., <a href="https://github.com/cligs/theatreclassique/blob/master/tei/tc0001.xml">https://github.com/cligs/theatreclassique/blob/master/tei/tc0001.xml</a>,
accessed November 28, 2020), it can be noticed that there is a general
subgenre assignment in the TEI header (<code><span style="color: #000096;"><term</span> <span style="color: #f5844c">type=</span><span style="color: #993300;">"genre"</span><span style="color: #000096;">></span>Comédie<span style="color: #000096;"></term></span></code>), but no further information about its
provenience is given. As Schöch mentions the historical subgenre labels
in his text, it can be assumed that these are the source. The
classification of works into dramatic subgenres is probably less debated
than into subgenres of the novel. Likely, dramatic subgenre labels are
also more often explicitly given on title pages than in the case of
novels. Still, it would be better to make the generic convention that is
analyzed more explicit because it makes a difference whether labels
assigned by librarians or literary historians or genre labels from the
historical paratexts of the works are used.</p>
<p><a href="ch2.html#ftn34">34.</a> An overview of proposals that have been
made for corpus building in literary genre studies is given in chapter
<a href="ch3.html#ch3.3">3.3</a> (“Text
Corpus”) below.</p>
<p><a href="ch2.html#ftn35">35.</a> However,
Jannidis himself comments on the status of the work steps: “Diese hier
skizzierte Vorgehensweise ist natürlich stark idealisiert. Nicht selten
steht am Anfang nicht die These, sondern ein auffälliger Befund in
Texten, der dann als Indikator für eine These gedeutet wird. Doch selbst
in diesem Fall einer induktiven Vorgehensweise ergibt sich zuletzt eine
ähnliche Forschungsstrategie, wie hier skizziert” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Jannidis 2010, 110<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">Jannidis, Fotis. 2010. “Methoden der computergestützten
Textanalyse.” In <em>Methoden der literatur- und kulturwissenschaftlichen
Textanalyse</em>, edited by Ansgar Nünning and Vera Nünning, 109–132.
Stuttgart, Weimar: J.B. Metzler.</span></span>).</p>
<p><a href="ch2.html#ftn36">36.</a> For an approach
to automatically recognize characters in German language novels, see
Jannidis et al. (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2015<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">Jannidis, Fotis, Markus Krug, Martin Toepfer,
Frank Puppe, Isabella Reger, and Lukas Weimer. 2015. “Automatische Erkennung von
Figuren in deutschsprachigen Romanen.” In <em>DHd2015.
Konferenzabstracts.</em>
<a href="https://doi.org/10.5281/zenodo.4623273">https://doi.org/10.5281/zenodo.4623273</a>.</span></span>). Barth and Viehhauser (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2017<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">Barth, Florian, and Gabriel Viehhauser. 2017.
“Digitale Modellierung literarischen Raums.” In <em>DHd2017.
Konferenzabstracts.</em>
<a href="https://doi.org/10.5281/zenodo.4622732">https://doi.org/10.5281/zenodo.4622732</a>.</span></span>) made the first attempts to
formalize concepts of literary space.</p>
<p><a href="ch2.html#ftn37">37.</a> In the context of subgenres of
Spanish-American novels, see, for instance, 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>) and Schlickers
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">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
naturalistic novel, 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>) and 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 historical novel, and 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>), Rosell (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1997<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">Rosell, Sara V. 1997. <em>La novela antiesclavista en
Cuba y Brasil, siglo XIX.</em> Madrid: Ed. Pliegos.</span></span>), and Sparrow de
García Barrío (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1977<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">Sparrow de García Barrío, Constance. 1977.
<em>The abolitionist novel in nineteenth century Cuba.</em> Baltimore:
Morgan State College.</span></span>) on the anti-slavery novel.</p>
<p><a href="ch2.html#ftn38">38.</a> Suárez-Murias (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">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>), for instance, is a study of
the Spanish-American romantic novel by country, in which subtypes of the
romantic novel are presented, such as sentimental novels, historical
novels, or novels of customs. A comprehensive overview of thematic
subtypes of Spanish-American novels is given in 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>). In Molina’s (<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>) study of the early
nineteenth-century Argentine novel, four classes of novels are
established (“novela histórica”, “novela política”, “novela
socializadora”, “novela sentimental”).</p>
<p><a href="ch2.html#ftn39">39.</a> The tradition to directly contrast
genres is stronger in linguistics than in literary studies. For text
linguistic contrastive genre analyses, see, for example, Adamzik (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2001<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">Adamzik, Kirsten, ed. 2001. <em>Kontrastive Textologie:
Untersuchungen zur deutschen und französischen Sprach- und
Literaturwissenschaft.</em> Tübingen: Stauffenburg-Verlag.</span></span>), Danneberg and
Niederhauser (<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">Danneberg, Lutz, and Jürg Niederhauser,
eds. 1998. <em>Darstellungsformen der Wissenschaften im Kontrast: Aspekte der
Methodik, Theorie und Empirie.</em> Tübingen: Narr.</span></span>), Gnutzmann (<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">Gnutzmann, Claus. 1990. <em>Kontrastive
Linguistik.</em> Frankfurt am Main: Lang.</span></span>), Kaiser (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2002<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">Kaiser, Dorothee. 2002. <em>Wege zum wissenschaftlichen
Schreiben. Eine kontrastive Untersuchung zu studentischen Texten aus Venezuela
und Deutschland.</em> Tübingen: Stauffenburg-Verlag.</span></span>, <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2008<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">Kaiser, Dorothee. 2008. “Ensayo o artículo científico? Una
comparación de tradiciones discursivas en Alemania y Latinoamérica.” In <em>Le
style, c’est l’homme: unité et pluralité du discours scientifique dans les
langues romanes</em>, edited by Ursula Reutner, 285–304. Frankfurt am Main:
Lang.</span></span>),
and Theisen (<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">Theisen, Joachim. 2016. <em>Kontrastive
Linguistik.</em> Tübingen: Narr.</span></span>). In
literary studies, contrastive analyses are, in particular, used in
comparative studies on different cultural and linguistic literary
systems. See Lamping (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2010<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">Lamping, Dieter. 2010. “Komparatistische
Gattungsforschung.” In <em>Handbuch Gattungstheorie</em>, edited by Rüdiger
Zymner, 270–273. Stuttgart, Weimar: J.B. Metzler.</span></span>) for an overview of comparative genre studies and Jacobs
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1986<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">Jacobs, Jürgen. 1986. “Bildungsroman und Pikaroroman.
Versuch einer Abgrenzung.” In <em>Der moderne deutsche Schelmenroman.
Interpretationen</em>, edited by Gerhart Hoffmeister, 9–18. Amsterdamer
Beiträge zur neueren Germanistik, vol. 20. Amsterdam: Rodopi.</span></span>) for a case
study on the picaresque and the education novel.</p>
<p><a href="ch2.html#ftn40">40.</a> The concept of
distinctiveness or keyness, which aims to find words characteristic of
one group of text compared to another, is a general one, not limited to
analyses of genre. See Burrows (<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">Burrows, John. 2007. “All the Way Through: Testing for
Authorship in Different Frequency Strata.” <em>Literary and Linguistic
Computing</em> 22 (1): 27–47. <a href="https://doi.org/10.1093/llc/fqi067">https://doi.org/10.1093/llc/fqi067</a>.</span></span>), who developed the Zeta-measure for
questions of authorship, and Scott (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1997<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">Scott, Mike. 1997. “PC analysis of key words — and key key
words.” <em>System</em> 25 (2): 233–245.</span></span>) for a general approach to keyword
extraction.</p>
<p><a href="ch2.html#ftn41">41.</a> For an analysis of the text features that are
decisive in detecting the nationality of authors of Spanish language
novels, see, for instance, Zehe et al. (<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">Zehe, Albin, Daniel Schlör, Ulrike Henny-Krahmer,
Martin Becker, and Andreas Hotho. 2018. “A White-Box Model for Detecting Author
Nationality by Linguistic Differences in Spanish Novels.” In <em>Digital
Humanities 2018. Puentes–Bridges. Book of Abstracts. Mexico City, 26–29 June
2018</em>, 519–522. Mexico City: Red de Humanidades Digitales. <a href="https://web.archive.org/web/20230212050806/https://dh2018.adho.org/en/a-white-box-model-for-detecting-author-nationality-by-linguistic-differences-in-spanish-novels/">https://web.archive.org/web/20230212050806/https://dh2018.adho.org/en/a-white-box-model-for-detecting-author-nationality-by-linguistic-differences-in-spanish-novels/</a>.</span></span>). Sentiment features that are
important in the classification of subgenres of nineteenth-century
Spanish-American novels were explored in 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>).</p>
<p><a href="ch2.html#ftn42">42.</a> Oakes mentions
the following issues that can mask the individual authorial style and
make it challenging to attribute texts correctly to a particular author:
heterogeneity of authorship over time, genre, gender, variation within a
single author, and topic (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Oakes
2009, 1072–1073<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">Oakes, Michael P. 2009. “Corpus Linguistics and
Stylometry.” In <em>Corpus Linguistics</em>, edited by Anke Lüdeling and Merja
Kytö, 1070–1090. Vol. 2. Berlin: De Gruyter. <a href="https://doi.org/10.1515/9783110213881.2.1070">https://doi.org/10.1515/9783110213881.2.1070</a>.</span></span>).</p>
<p><a href="ch2.html#ftn43">43.</a> An attempt to neutralize authorial signals in
genre analysis has, for example, been made by Calvo Tello et al. (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2017<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, Daniel Schlör, Ulrike Henny,
and Christof Schöch. 2017. “Neutralizing the Authorial Signal in Delta by
Penalization: Stylometric Clustering of Genre in Spanish Novels.” In <em>Digital
Humanities 2017. Conference Abstracts, Montréal, Canada, August 8–11,
2017</em>, 181–184. Montreal: McGill University & Université de Montréal.
<a href="https://web.archive.org/web/20230212053238/https://dh2017.adho.org/abstracts/037/037.pdf">https://web.archive.org/web/20230212053238/https://dh2017.adho.org/abstracts/037/037.pdf</a>.</span></span>).</p>
<p><a href="ch2.html#ftn44">44.</a> The
sum of the numbers related to currents is higher than 172 because the
same work can be associated with several literary currents. The
bibliographic data containing this information is available at <a href="https://raw.githubusercontent.com/cligs/bibacme/master/app/data/works.xml">https://raw.githubusercontent.com/cligs/bibacme/master/app/data/works.xml</a>,
and the script used to retrieve the numbers of sentimental novels can be
viewed at <a href="https://github.com/cligs/scripts-nh/blob/master/concepts/subgenre-label-combinations.xsl">https://github.com/cligs/scripts-nh/blob/master/concepts/subgenre-label-combinations.xsl</a>.
Both links accessed November 29, 2020.</p>
<p><a href="ch2.html#ftn45">45.</a> In a
presentation about the differentiation of authorship, form, and genre of
literary texts, Schöch and Pielström tried to identify statistical
components that are clearly attributable to either of these factors.
Analyzing French dramatic texts, they found two components that primarily
covered differences in authorship but none that were predominantly
related to genre (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schöch and Pielström 2014a<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, and Steffen Pielström. 2014a.
“Für eine computergestützte literarische Gattungsstilistik.” <em>DHd2014.
Konferenzabstracts.</em> Passau: Universität Passau. <a href="https://doi.org/10.5281/zenodo.4623620">https://doi.org/10.5281/zenodo.4623620</a>.</span></span>, <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2014b<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, and Steffen Pielström. 2014b.
“Die Principal Component Analysis für die Differenzierung von Autorschaft, Form
und Gattung literarischer Texte.” Talk presented at the <em><philtag
n=12/></em>, University of Würzburg, September 19, 2014.</span></span>).</p>
<p><a href="ch2.html#ftn46">46.</a> Jannidis, Konle, and Leinen (<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">Jannidis, Fotis, Leonard Konle, and Peter
Leinen. 2019. “Makroanalytische Untersuchung von Heftromanen.” In <em>DHd2019.
Digital Humanities: multimedial & multimodal. Konferenzabstracts,
Universitäten zu Mainz und Frankfurt, 25. bis 29. März 2019</em>, edited by
Patrick Sahle, 167–173. Frankfurt & Mainz: Verband Digital Humanities im
deutschsprachigen Raum e.V. <a href="https://doi.org/10.5281/zenodo.4622093">https://doi.org/10.5281/zenodo.4622093</a>.</span></span>), for example,
analyzed a corpus of 9,000 dime novels in German language, which were
published between 2009 and 2017. They aimed to find out how the subgenres
of the dime novels can be differentiated and in what way the corpus as a
whole is different from high-prestige novels. They used the 8,000 most
frequent nouns as features and classified the novels with Logistic
Regression. In addition, a clustering was done on the basis of the 2,000
MFW. To analyze the relevant features for the different subgenres, topic
modeling and a contrastive analysis with the Zeta measure were performed.
They found that the subgenres can be distinguished well both on a
stylistic and a thematic level. Regarding the complexity of dime novels
compared to high-prestige literature, they found that sentences are
shorter in dime novels. However, they did not find any clear differences
in the vocabulary richness or length of the words.</p>
<p><a href="ch2.html#ftn47">47.</a> In Todorov’s study, the term “register” is
probably meant in the linguistic sense of a functionally determined specific
way of writing or speaking (for example, formal versus informal) and as a
term that is related to that of style.</p>
<p><a href="ch2.html#ftn48">48.</a> How
well the horizons of expectations can be captured through the analysis of
historical documents is a point of debate (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Voßkamp 1977, 29<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">Voßkamp, Wilhelm. 1977. “Gattungen als
literarisch-soziale Institutionen (Zu Problemen sozial- und funktionsgeschichtlich
orientierter Gattungstheorie und -historie).” In <em>Textsortenlehre –
Gattungsgeschichte</em>, edited by Walter Hinck, 27–44. Heidelberg: Quelle
& Meyer.</span></span>).</p>
<p><a href="ch2.html#ftn49">49.</a> Another approach that is strongly dependent on a historical
anchoring is Voßkamp’s concept of genres as institutions, which are
determined by their social and functional history. Voßkamp understands
genres as selections among several possible alternatives and argues that
prototypical works play an important role in institutionalizing generic
conventions and forming generic norms. According to the institutional theory
of genres, an important task is to analyze the literary- and
socio-historical context and the conditions of the prototypical works’
creation, to understand what differentiates them from the alternatives that
existed and what their specific social and historical functions were (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Voßkamp 1977,
30–31<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">Voßkamp, Wilhelm. 1977. “Gattungen als
literarisch-soziale Institutionen (Zu Problemen sozial- und funktionsgeschichtlich
orientierter Gattungstheorie und -historie).” In <em>Textsortenlehre –
Gattungsgeschichte</em>, edited by Walter Hinck, 27–44. Heidelberg: Quelle
& Meyer.</span></span>).</p>
<p><a href="ch2.html#ftn50">50.</a> See <a href="#ftn33">footnote 33</a> above for
examples.</p>
<p><a href="ch2.html#ftn51">51.</a> The term “macroanalysis” was coined by Jockers:
“The approach to the study of literature that I am calling ‘macroanalysis’
is in some general ways akin to economics or, more specifically, to
macroeconomics. [...] There was, however, ‘microeconomics,’ which studies
the economic behavior of individual consumers and individual businesses. As
such, microeconomics can be seen as analogous to our study of individual
texts via ‘close readings.’ Macroeconomics, however, is about the study of
the entire economy. It tends towards enumeration and quantification and is
in this sense similar to bibliographic studies, biographical studies,
literary history, philology, and the enumerative, quantitative analysis of
text that is the foundation of computing in the humanities” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Jockers 2013, 24<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>). When
listing the opportunities of the macroanalytic approach, Jockers mentions
several points that are linked to historical contextualization and change:
“This approach offers specific insights into literary-historical questions,
including insights into: the historical place of individual texts, authors,
and genres in relation to a larger literary context; literary production in
terms of growth and decline over time or within regions or within
demographic groups; literary patterns and lexicons employed over time,
across periods, within regions, or within demographic groups; the cultural
and societal forces that impact literary style and the evolution of style;
the cultural, historical, and societal linkages that bind or do not bind
individual authors, texts, and genres into an aggregate literary culture;
the waxing and waning of literary themes; the tastes and preferences of the
literary establishment and whether those preferences correspond to general
tastes and preferences” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Jockers
2013, 24<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>). Jockers analyzes novels in English based on metadata and
full texts, and he repeatedly points out how they develop historically. For
example, he trains models for specific decades and analyzes which texts from
other decades are stylistically similar to the initial ones, finding
approximately thirty-year generations of style. He also finds correlations
between the publication dates of novels and their subgenres and subsequently
traces the signals of genre style throughout the nineteenth century (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Jockers 2013,
82–89<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>).</p>
<p><a href="ch2.html#ftn52">52.</a> An example of such a constellation
is the German novella, which Schröter described as an instance of
“historically discontinuous and heterogeneous genres” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schröter 2019, 227<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">Schröter, Julian. 2019. “Gattungsgeschichte und ihr
Gattungsbegriff am Beispiel der Novellen.” <em>Journal of Literary Theory</em>
13 (2): 227–257.</span></span>).
Rigorous poetics of the novella existed, but these were not consistent
with the texts called novellas. Furthermore, the texts carrying the label
“novella” could not be described as a homogeneous group (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schröter 2019, 229<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">Schröter, Julian. 2019. “Gattungsgeschichte und ihr
Gattungsbegriff am Beispiel der Novellen.” <em>Journal of Literary Theory</em>
13 (2): 227–257.</span></span>).
Schröter proposes to define “intersections” between the texts referred to
as novellas and classificatory sets of texts so that, for example, texts
with the name novella that were published as fictional journal prose and
share the characteristics of the latter type of text would form one
subtype of the genre novella. Schröter states: “It is important not to
summarily define such intersections as novellas, as is often done. Such a
definition would result in a classificatory concept of the respective
genre, which in turn would no longer be suitable for comprehending the
historical use of the generic label and hence the semantics of a genre in
literary-historical communication.” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schröter 2019, 228<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">Schröter, Julian. 2019. “Gattungsgeschichte und ihr
Gattungsbegriff am Beispiel der Novellen.” <em>Journal of Literary Theory</em>
13 (2): 227–257.</span></span>). Using the
terminology proposed here, the intersection of texts referred to as
novellas and fictional journal prose would be called a “textual literary
genre”, whereas the semantics of the novella in literary-historical
communication would be referred to as the “conventional literary genre”.
The novella, as a conventional literary genre, would then consist of
several different textual genres.</p>
<p><a href="ch2.html#ftn53">53.</a> For a short description of the usual types of
generic signals, see Fricke (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1981, 135<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">Fricke, Harald. 1981. <em>Norm und Abweichung. Eine
Philosophie der Literatur.</em> München: Beck.</span></span>). A more comprehensive overview is given in Fowler
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1982,
88–105<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">Fowler, Alastair. 1982. <em>Kinds of Literature. An
Introduction to the Theory of Genres and Modes.</em> Oxford: Clarendon
Press.</span></span>).</p>
<p><a href="ch2.html#ftn54">54.</a> A Mexican writer who reflected on the novel’s
role in Mexican national literature was, for example, Ignacio Manuel
Altamirano, who expressed his ideas in the essay “Revistas Literarias de
México” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Altamirano
1868<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">Altamirano, Ignacio Manuel. 1868. <em>Revistas
literarias de México.</em> México: T. F. Neve.</span></span>).</p>
<p><a href="ch2.html#ftn55">55.</a> The terms “collectif” versus “individuel” and “unique”
versus “multiple” are introduced by Schaeffer when discussing the status
of different kinds of generic terms. Furthermore, Schaeffer distinguishes
between “noms génériques endogènes”, which are used by authors or their
public, and “nom génériques exogènes”, which are established by literary
historians. The generic terms can have a textual (attached to the
literary text, for example, as a paratextual element) or a meta-textual
status (if they are used as terms to discuss a work but are external to
it), and the functions of the labels vary depending on the category they
belong to (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schaeffer 1983,
65, 77–78<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>).</p>
<p><a href="ch2.html#ftn56">56.</a> Rather than on the question of
historical convention and institutionalization, Schaeffer focuses on the
place and concept of the genre names in the communicative situation. He
uses the property of all texts as speech acts as an argument for
characterizing genres as more analytical or historical: “Je pense qu’il
faut aller plus loin: les genres théoriques, c’est-à-dire en fait les
genres tels qu’ils sont définis par tel ou tel critique, font
<em>eux-mêmes</em> partie de ce qu’on pourrait appeler la logique
pragmatique de la générécité, logique qui est indistinctement un
phénomène de production et de réception textuelle. En ce sens on peut
dire que l’<em>Introduction à la littérature fantastique</em> de
Todorov est elle-même un des facteurs de la dynamique générique, à savoir
une proposition spécifique pour un regroupement textuel spécifique et
donc pour un modèle générique spécifique [...]” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schaeffer 1983, 68<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>).</p>
<p><a href="ch2.html#ftn57">57.</a> Schaeffer too argues that there should not be a strict separation of
theoretical and historical genres and genre labels, although he
recognizes that they follow quite different rules: “le système des genres
théoriques, construit à partir d’oppositions différentielles, simples ou
multiples, obéit à des contraintes de cohérence qui ne sont pas celles
des genres historiques (quelles que soit la réalité de ces genres
désignés par les noms de genres traditionells)” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schaeffer 1983, 67<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>). Schaeffer
demonstrates why it is not useful to assume a direct deductive
relationship between both. However, if theoretical definitions of genres
are used as hypotheses about textual genres, no claim about the integrity
of the conventional historical genres is made, so that such a deductive
procedure seems viable.</p>
<p><a href="ch2.html#ftn58">58.</a> For definitions of the historical novel
in which the mentioned characteristics play a role, see, among
others, Fernández Prieto (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1996<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">Fernández Prieto, Celia. 1996. “Poética de la
novela histórica como género literario.” <em>Signa. Revista de la Asociación
Española de Semiótica</em> 5: 185–202. <a href="https://www.cervantesvirtual.com/nd/ark:/59851/bmc7p9c7">https://www.cervantesvirtual.com/nd/ark:/59851/bmc7p9c7</a>.</span></span>), Lefere (<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">Lefere, Robin. 2013. <em>La novela histórica:
(re)definición, caracterización, tipología.</em> Madrid: Visor Libros.</span></span>), Lukács (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1955<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">Lukács, Georg. 1955. <em>Der Historische Roman.</em>
Berlin: Aufbau-Verlag.</span></span>), Maxwell (<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">Maxwell, Richard. 2009. <em>The Historical Novel in
Europe, 1650–1950.</em> Cambridge: Cambridge University Press.</span></span>) and Spang
(<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">Spang, Kurt. 1998. “Apuntes para una definición de la
novela histórica.” In <em>La novela histórica. Teoría y comentarios.</em>,
edited by Kurt Spang, Ignacio Arellano, and Carlos Mata, 63–125. 2nd ed. Pamplona:
EUNSA. <a href="https://web.archive.org/web/20160504022949/http://www.culturahistorica.es/spang/novela_historica.pdf">https://web.archive.org/web/20160504022949/http://www.culturahistorica.es/spang/novela_historica.pdf</a>.</span></span>).</p>
<p><a href="ch2.html#ftn59">59.</a> In this case, it would be important
<em>not</em> to derive the labels <em>directly from</em> the
theoretical definition of the textual genre in order to avoid circular
reasoning.</p>
<p><a href="ch2.html#ftn60">60.</a> The colors were added by me.</p>
<p><a href="ch2.html#ftn61">61.</a> He thus refers to textual
coherence in a broad sense involving all the discursive levels of a
speech act. The difference between factual or fictional utterances,
for instance, would in fact be difficult to pin down to textual
features in a narrower sense.</p>
<p><a href="ch2.html#ftn62">62.</a> See, in particular, <a href="ch3.html#ch3.2.3.6">chapter 3.2.3.6</a>, where the empirically based
discursive model of generic terms is described.</p>
<p><a href="ch2.html#ftn63">63.</a> This can be confirmed by the explicit
genre labels found in the digital bibliography of
nineteenth-century Argentine, Cuban, and Mexican novels created for
the present study because the label “novela naturalista” is found
in the subtitles of three historical editions (“¿Inocentes o
culpables? Novela naturalista” (1884, AR) by Juan Antonio Argerich,
“Los bandidos de Río Frío. Novela naturalista, humorística, de
costumbres, de crímenes y de horrores” (1892, MX) by Manuel Payno,
and “Conventillo de intelectuales. Novela de índole rebelde y de
género naturalista que no deben leer las almas timoratas” (1904,
AR) by Francisco Guillo). It is also referred to in the prefaces of
two of the naturalistic novels whose full text was examined (“El
tipo más original” (1879, AR) by Eduardo Ladislao Holmberg and
“Perfiles y medallones” (1886, AR) by Silverio
Domínguez).</p>
<p><a href="ch2.html#ftn64">64.</a> Hempfer (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1973, 14–29<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">Hempfer, Klaus W. 1973. <em>Gattungstheorie.
Information und Synthese.</em> München: Fink.</span></span>) dedicates a
whole chapter to the discussion of terminological problems. Although his
study was first published in the seventies, it is still influential today
in the German-speaking area. Klausnitzer and Naschert discuss his
approach as one of the positions in genre theory which sparked some
debate in the twentieth century (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Klausnitzer and Naschert 2007,
387–404<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">Klausnitzer, Ralf, and Guido Naschert. 2007.
“Gattungstheoretische Kontroversen? Konstellationen der Diskussion von
Textordnungen im 20. Jahrhundert.” In <em>Kontroversen in der Literaturtheorie –
Literaturtheorie in der Kontroverse</em>, edited by Ralf Klausnitzer and
Carlos Spoerhase, 369–412. Bern: Peter Lang.</span></span>). Neumann and Nünning (<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">Neumann, Birgit, and Ansgar Nünning. 2007.
“Einleitung: Probleme, Aufgaben und Perspektiven der Gattungstheorie und
Gattungsgeschichte.” In <em>Gattungstheorie und Gattungsgeschichte</em>,
edited by Marion Gymnich, Birgit Neumann, and Ansgar Nünning, 1–28. Trier:
WVT.</span></span>) also refer to him
repeatedly in their overview of problems, tasks, and perspectives of
genre theory and history.</p>
<p><a href="ch2.html#ftn65">65.</a> For instance: “Kinds may in this way give the impression of being fixed,
definite things, located in history, whose description is a fairly
routine matter. As we shall see, there is something in the idea of
definiteness. But describing even a familiar kind is no simple matter. We
may think we know what a sonnet is, until we look into the Elizabethan
sonnet and are faced with quatorzain stanzas, fourteen-line epigrams,
sixteen-line sonnets, and ‘sonnet sequences’ mixing sonnets with
complaints or Anacreontic odes. Besides such historical changes within
individual kinds, there are wider changes in the literary model allowed
for, with their repercussions on the significance and even categorization
of generic features” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Fowler
1982, 57<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">Fowler, Alastair. 1982. <em>Kinds of Literature. An
Introduction to the Theory of Genres and Modes.</em> Oxford: Clarendon
Press.</span></span>).</p>
<p><a href="ch2.html#ftn66">66.</a> A
difference between Hempfer’s <em>Schreibweisen</em> and Fowler’s
<em>modes</em> is that Fowler does not see the modes as
ahistorical constants. He describes them as distillations of kinds, i.e.
of the features of kinds that seem permanently valuable. In that respect,
they are more durable than the historical kinds because they are not
linked to external forms that become outdated faster. However, these
distillations may also change or become obsolete, as, for example, the
heroic mode, which is only conserved in historical or political novels.
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Fowler 1982,
111<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">Fowler, Alastair. 1982. <em>Kinds of Literature. An
Introduction to the Theory of Genres and Modes.</em> Oxford: Clarendon
Press.</span></span>).</p>
<p><a href="ch2.html#ftn67">67.</a> In the area of bibliographic modeling, this question is,
for example, addressed in the conceptual model FRBR of the International
Federation of Library Associations and Institutions (IFLA): “variant
texts incorporating revisions or updates to an earlier text are viewed
simply as <em>expressions</em> of the same <em>work</em> [...].
Similarly, abridgements or enlargements of an existing text [...] are
considered to be different <em>expressions</em> of the same
<em>work</em>” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">International Federation of Library Associations and Institutions
(IFLA) 2009, 17<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">International Federation of Library Associations and
Institutions (IFLA). 2009. <em>Functional Requirements for Bibliographic
Records. Final report.</em>
<a href="https://repository.ifla.org/handle/123456789/811">https://repository.ifla.org/handle/123456789/811</a>.</span></span>). Translations are also considered as different
forms of the same work. On the other side, “when the modification of the
<em>work</em> involves a significant degree of independent
intellectual or artistic effort, the result is viewed [...] as a new
<em>work</em>” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">International Federation of Library Associations and Institutions
(IFLA) 2009, 17<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">International Federation of Library Associations and
Institutions (IFLA). 2009. <em>Functional Requirements for Bibliographic
Records. Final report.</em>
<a href="https://repository.ifla.org/handle/123456789/811">https://repository.ifla.org/handle/123456789/811</a>.</span></span>). This includes, for example, paraphrases,
summaries, adaptations for children, parodies, and changes from one art
form to another. As can be seen, in individual cases, it may be difficult
to decide whether changes to a text are a minor revision or a significant
modification. Certainly, the question of the definition and unity of a
literary work is also central in literary studies. For example, the role
of authorship or the prerequisite of completion for a work to be a work
can be questioned. For an overview, see Thomé (<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">Thomé, Horst. 2007. “Werk.” In <em>Reallexikon der
Deutschen Literaturwissenschaft. Neubearbeitung des Reallexikons der deutschen
Literaturgeschichte</em>, edited by Klaus Weimar, Harald Fricke, and Jan-Dirk
Müller, 832–834. Vol. 2. Berlin, New York: De Gruyter.</span></span>).</p>
<p><a href="ch2.html#ftn68">68.</a> See the mentions of the novel in 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>), Fernández-Arias
Campoamor (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1952<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"> Fernández-Arias Campoamor, José. 1952.
<em>Novelistas de Mejico: esquema de la historia de la novela mejicana (de
Lizardi al 1950).</em> Madrid: Ediciones Cultura Hispánica. </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>), 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>), 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>), and Varela Jácome (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">[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>).</p>
<p><a href="ch2.html#ftn69">69.</a> Fowler
not only sets forth transformations of genre but also differentiates them
from modal transformations, which he calls “generic modulation”, with a
different sense than the modulation that Schaeffer describes.</p>
<p><a href="ch2.html#ftn70">70.</a> The CLiGS group also experimented with this algorithm to
detect phases of accelerated literary development in over 300 French
twentieth-century novels in a project presented at the conference “Forum
Junge Romanistik”, using topics and temporal expressions as features
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schöch et al.
2017<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,
Katrin Betz, and Daniel Schlör. 2017. “Epochenschwellen als Phasen beschleunigter
literarischer Entwicklung?” Talk presented at the <em>Forum Junge
Romanistik</em>, Göttingen, March, 2017. Accessed March 3, 2023. <a href="https://christofs.github.io/fjr17/#">https://christofs.github.io/fjr17/#</a>. </span></span>).</p>
<p><a href="ch2.html#ftn71">71.</a> Gymnich
and Neumann synthesize the references between the four levels in a
diagram: they interpret the individual-cognitive level as mediating
between the textual level and the cultural-historical dimension of genres
and describe the functional aspects as superordinate to the other three
levels. Their model aims not to provide a homogenizing general theory of
genre but an integrative view on the different theoretical approaches to
it so that scholarly communication about genres is facilitated (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Gymnich and Neumann
2007, 34–35<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><a href="ch2.html#ftn72">72.</a> Bonheim’s
method is based on the idea of separating different classes of literary
genres by finding necessary (“megafeatures”) and optional elements
(“microfeatures”) for each class. An aspect of his model that is of
interest from the point of view of digital genre stylistics is that also
“loss features” are considered, i.e., features that are negated or
missing in certain genres (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Bonheim 1992, 2–3<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">Bonheim, Helmut. 1992. “The Cladistic Method of
Classifying Genres.” <em>Yearbook of Research in English and American Literature
(REAL)</em> 8: 1–32.</span></span>).</p>
<p><a href="ch2.html#ftn73">73.</a> “der gleichsam verwickelten Welt der Literatur”.</p>
<p><a href="ch2.html#ftn74">74.</a> For
example by Hempfer (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2014,
416–419<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">Hempfer, Klaus W. 2014. “Some Aspects of a Theory of
Genre.” In <em>Linguistics and Literary Studies/Linguistik und
Literaturwissenschaft. Interfaces, Encounters, Transfers/Begegnungen,
Interferenzen und Kooperationen</em>, edited by Monika Fludernik and Daniel
Jacob, 405–422. Berlin: De Gruyter.</span></span>), who proposes to use the concept of family resemblance
instead to conceptualize historical genres, such as the elegy, or
Tophinke (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1997,
161–163<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">Tophinke, Doris. 1997. “Zum Problem der Gattungsgrenze –
Möglichkeiten einer prototypentheoretischen Lösung.” In <em>Gattungen
mittelalterlicher Schriftlichkeit</em>, edited by Barbara Frank, Thomas Haye,
and Doris Tophinke, 161–182. Tübingen: Narr.</span></span>), who suggests a solution based on prototype theory for
official municipal charters and the unofficial ones used by merchants in
the Late Middle Ages.</p>
<p><a href="ch2.html#ftn75">75.</a> Examples of
classificatory genre stylistic studies are Calvo Tello (<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">Calvo Tello, José. 2018. “Genre Classification in
Novels: A Hard Task for Humans and Machines?” In <em>EADH 2018: Data in Digital
Humanities. Conference Abstracts.</em> Galway: National University of
Ireland. <a href="https://web.archive.org/web/20230304103733/https://eadh2018.exordo.com/files/papers/46/final_draft/20181205_genre_classification_human_vs_machines.pdf">https://web.archive.org/web/20230304103733/https://eadh2018.exordo.com/files/papers/46/final_draft/20181205_genre_classification_human_vs_machines.pdf</a>.</span></span>), <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Gianitsos 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">Gianitsos, Efthimios Tim, Thomas J. Bolt, Pramit
Chaudhuri, and Joseph P. Dexter. 2019. “Stylometric Classification of Ancient
Greek Literary Texts by Genre.” In <em>Proceedings of the 3rd Joint SIGHUM
Workshop on Computational Linguistics for Cultural Heritage, Social Sciences,
Humanities and Literature, Minneapolis, MN, USA, June 7, 2019</em>, 52–60.
Minneapolis: Association for Computational Linguistics. <a href="http://dx.doi.org/10.18653/v1/W19-2507">http://dx.doi.org/10.18653/v1/W19-2507</a>. </span></span>, 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