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  1. Kontingenz, Kontextualität und Potentialität von Lebensgeschichten in Sergej Bolmats Roman "V vozduche" / "In der Luft"
    Author: Weller, Nina

    »Wenn es einen Wirklichkeitssinn gibt, dann muß es« – so folgerte Robert Musil zu Beginn des 20. Jahrhunderts – »auch einen Möglichkeitssinn geben.« Darunter versteht er die Fähigkeit, »alles, was ebenso gut [auch] sein könnte, zu denken und das, was... more

     

    »Wenn es einen Wirklichkeitssinn gibt, dann muß es« – so folgerte Robert Musil zu Beginn des 20. Jahrhunderts – »auch einen Möglichkeitssinn geben.« Darunter versteht er die Fähigkeit, »alles, was ebenso gut [auch] sein könnte, zu denken und das, was ist, nicht wichtiger zu nehmen, als das, was nicht ist.« Mit dem Begriff des Möglichkeitssinns, der auf die Relativität und Alternativität des individuellen Denkens sowie auf die Utopie eines anderen, hypothetischen Lebens verweist, hat Robert Musil in seinem Jahrhundertroman Der Mann ohne Eigenschaften dem Kontingenzbewusstsein des modernen Menschen Ausdruck gegeben, welches am Ende des 20. Jahrhunderts zum Grundmodus der Existenz und der Verfasstheit des Individuums überhaupt werden sollte. Dem Begriff der Kontingenz liegt bei aller Unschärfe ein grundlegendes, auf Aristoteles zurückgehendes Verständnis zugrunde, welches Niklas Luhmann folgendermaßen definiert: Kontingent ist etwas, was weder notwendig ist, noch unmöglich ist; was also so, wie es ist (war, sein wird), sein kann, aber auch anders möglich ist. Der Begriff bezeichnet mithin Gegebenes (zu Erfahrendes, Erwartetes, Gedachtes, Phantasiertes) im Hinblick auf mögliches Anderssein; er bezeichnet Gegenstände im Horizont möglicher Abwandlungen.

     
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    Source: CompaRe
    Language: German
    Media type: Working paper; Working paper
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    DDC Categories: 800
    Subjects: Literaturwissenschaft; Russland
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  2. Regelwissen und Weltwissen für die Jetztzeit : die Funktionsleistungen der Sachliteratur / herausgegeben vom Forschungsprojekt „Das populäre deutschsprachige Sachbuch im 20. Jahrhundert“
    Author: Porombka, Stephan
    Published: 21.04.2009

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    Language: German
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    Subjects: Sachliteratur
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  3. Between canon and corpus: six perspectives on 20th-century novels
    Author: Algee-Hewitt, Mark; McGurl, Mark
    Published: 01.01.2015

    Of the many, many thousands of novels and stories published in English in the 20th century, which group of several hundred would represent the most reasonable, interesting, and useful subset of the whole? more

     

    Of the many, many thousands of novels and stories published in English in the 20th century, which group of several hundred would represent the most reasonable, interesting, and useful subset of the whole?

     
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    Source: CompaRe
    Language: English
    Media type: Working paper; Working paper
    Format: Online
    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Literaturkanon; Englische Literatur; Digital Humanities; Literaturgeschichte; Roman; Ranking
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  4. Bankspeak: the language of World Bank Reports, 1946–2012
    Author: Moretti, Franco; Pestre, Dominique
    Published: 01.05.2015

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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Kreditmarkt; Sprachanalyse; World development report; Sprachentwicklung; Digital Humanities; Bank
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  5. On paragraphs. Scale, themes, and narrative form
    Author: Algee-Hewitt, Mark; Heuser, Ryan; Moretti, Franco
    Published: 01.10.2015

    Different scales, different features. It’s the main difference between the thesis we have presented here, and the one that has so far dominated the study of the paragraph. By defining it as "a sentence writ large", or, symmetrically, as "a short... more

     

    Different scales, different features. It’s the main difference between the thesis we have presented here, and the one that has so far dominated the study of the paragraph. By defining it as "a sentence writ large", or, symmetrically, as "a short discourse", previous research was implicitly asserting the irrelevance of scale: sentence, paragraph, and discourse were all equally involved in the "development of one topic". We have found the exact opposite: 'scale is directly correlated to the differentiation of textual functions'. By this, we don't simply mean that the scale of sentences or paragraphs allows us to "see" style or themes more clearly. This is true, but secondary. Paragraphs allows us to "see" themes, because themes fully "exist" only at the scale of the paragraph. Ours is not just an epistemological claim, but an ontological one: if style and themes and episodes exist in the form they do, it's because writers work at different scales – and do different things according to the level at which they are operating.

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Digital Humanities; Intertextualität; Roman; Literaturtheorie; Lyrik; Syntax; Absatz <Text>
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  6. Canon/archive : large-scale dynamics in the literary field
    Author: Algee-Hewitt, Mark; Allison, Sarah; Gemma, Marissa; Heuser, Ryan; Moretti, Franco; Walser, Hannah
    Published: 01.01.2016

    Of the novelties introduced by digitization in the study of literature, the size of the archive is probably the most dramatic: we used to work on a couple of hundred nineteenth-century novels, and now we can analyze thousands of them, tens of... more

     

    Of the novelties introduced by digitization in the study of literature, the size of the archive is probably the most dramatic: we used to work on a couple of hundred nineteenth-century novels, and now we can analyze thousands of them, tens of thousands, tomorrow hundreds of thousands. It's a moment of euphoria, for quantitative literary history: like having a telescope that makes you see entirely new galaxies. And it's a moment of truth: so, have the digital skies revealed anything that changes our knowledge of literature? This is not a rhetorical question. In the famous 1958 essay in which he hailed "the advent of a quantitative history" that would "break with the traditional form of nineteenth-century history", Fernand Braudel mentioned as its typical materials "demographic progressions, the movement of wages, the variations in interest rates [...] productivity [...] money supply and demand." These were all quantifiable entities, clearly enough; but they were also completely new objects compared to the study of legislation, military campaigns, political cabinets, diplomacy, and so on. It was this double shift that changed the practice of history; not quantification alone. In our case, though, there is no shift in materials: we may end up studying 200,000 novels instead of 200; but, they're all still novels. Where exactly is the novelty?

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Quantitative Literaturwissenschaft; Digital Humanities; Romantheorie
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  7. Popularity/Prestige
    Author: Porter, J. D.
    Published: 08.11.2018

    What is the canon? Usually this question is just a proxy for something like, "Which works are in the canon?" But the first question is not just a concise version of the second, or at least it doesn’t have to be. Instead, it can ask what the... more

     

    What is the canon? Usually this question is just a proxy for something like, "Which works are in the canon?" But the first question is not just a concise version of the second, or at least it doesn’t have to be. Instead, it can ask what the structure of the canon is - in other words, when things are in the canon, what are they in? This question came to the fore during the project that resulted in Pamphlet 11. The members of that group were looking for morphological differences between the canon and the archive. The latter they define, straightforwardly and capaciously, as "that portion of published literature that has been preserved—in libraries and elsewhere" The canon is a slipperier concept; the authors speak instead of multiple canons, like the books preserved in the Chadwyck-Healey Nineteenth-Century Fiction Collection, the constituents of the six different "best-twentieth century novels" lists analyzed by Mark Algee-Hewitt and Mark McGurl in Pamphlet 8, authors included in the British Dictionary of National Biography, and so forth. [...] This last conundrum points the way out of these difficulties and into a workable model of the structure of the canon. It suggests two different ways of entering the canon: being read by many and being prized by an elite few—or, to use the terms arrived at in Pamphlet 11, popularity and prestige. With these two dimensions, we arrive at a canonical space [...].

     
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  8. Literature, measured
    Author: Moretti, Franco
    Published: 01.04.2016

    There comes a moment, in digital humanities talks, when someone raises the hand and says: "Ok. Interesting. But is it really new?" Good question... And let's leave aside the obvious lines of defense, such as "but the field is still only at its... more

     

    There comes a moment, in digital humanities talks, when someone raises the hand and says: "Ok. Interesting. But is it really new?" Good question... And let's leave aside the obvious lines of defense, such as "but the field is still only at its beginning!", or "and traditional literary criticism, is that always new?" All true, and all irrelevant; because the digital humanities have presented themselves as a radical break with the past, and must therefore produce evidence of such a break. And the evidence, let's be frank, is not strong. What is there, moreover, comes in a variety of forms, beginning with the slightly paradoxical fact that, in a new approach, not everything has to be new. When "Network Theory, Plot Analysis” pointed out, in passing, that a network of Hamlet had Hamlet at its center, the New York Times gleefully mentioned the passage as an unmistakable sign of stupidity. Maybe; but the point, of course, was not to present Hamlet’s centrality as a surprise; it was exactly the opposite: had the new approach not found Hamlet at the center of the play, its plausibility would have disintegrated. Before using network theory for dramatic analysis, I had to test it, and prove that it corroborated the main results of previous research.

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Quantitative Literaturwissenschaft; Digital Humanities
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  9. The Emotions of London
    Author: Heuser, Ryan; Moretti, Franco; Steiner, Erik
    Published: 01.10.2016

    A few years ago, a group formed by Ben Allen, Cameron Blevins, Ryan Heuser, and Matt Jockers decided to use topic modeling to extract geographical information from nineteenth-century novels. Though the study was eventually abandoned, it had revealed... more

     

    A few years ago, a group formed by Ben Allen, Cameron Blevins, Ryan Heuser, and Matt Jockers decided to use topic modeling to extract geographical information from nineteenth-century novels. Though the study was eventually abandoned, it had revealed that London-related topics had become significantly more frequent in the course of the century, and when some of us were later asked to design a crowd-sourcing experiment, we decided to add a further dimension to those early findings, and see whether London place-names could become the cornerstone for an emotional geography of the city.

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: London; Digital Humanities; Romantheorie; Schauplatz
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  10. Broken time, continued evolution : anachronies in contemporary films
    Author: Kanatova, Maria; Milyakina, Alexandra; Pilipovec, Tatyana; Shelya, Artjom; Sobchuk, Oleg; Tinits, Peeter

    In 1983, Brian Henderson published an article that examined various types of narrative structure in film, including flashbacks and flashforwards. After analyzing a whole spectrum of techniques capable of effecting a transition between past and... more

     

    In 1983, Brian Henderson published an article that examined various types of narrative structure in film, including flashbacks and flashforwards. After analyzing a whole spectrum of techniques capable of effecting a transition between past and present – blurs, fades, dissolves, and so on – he concluded: "Our discussions indicate that cinema has not (yet) developed the complexity of tense structures found in literary works". His "yet" (in parentheses) was an instance of laudable caution, as very soon – in some ten–fifteen years – the situation would change drastically, and temporal twists would become a trademark of a new genre that has not (yet) acquired a standardized name: "modular narratives", "puzzle films", and "complex films" are among the labels used.

     
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    Media type: Working paper; Working paper
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    DDC Categories: 790; 800
    Collection: Stanford Literary Lab
    Subjects: Filmtheorie; Zeitraffer; Zeitlupe; Zeitumkehr; Zeitperspektive
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  11. Patterns and interpretation
    Author: Moretti, Franco
    Published: 01.09.2017

    One thing for sure: digitization has completely changed the literary archive. People like me used to work on a few hundred nineteenth-century novels; today, we work on thousands of them; tomorrow, hundreds of thousands. This has had a major effect on... more

     

    One thing for sure: digitization has completely changed the literary archive. People like me used to work on a few hundred nineteenth-century novels; today, we work on thousands of them; tomorrow, hundreds of thousands. This has had a major effect on literary history, obviously enough, but also on critical methodology; because, when we work on 200,000 novels instead of 200, we are not doing the same thing, 1,000 times bigger; we are doing a different thing. The new scale changes our relationship to our object, and in fact 'it changes the object itself'.

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Romantheorie; Digital Humanities; Quantitative Literaturwissenschaft; Muster <Struktur>; Syntax; Interpretation
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  12. Totentanz : Operationalizing Aby Warburg’s 'Pathosformeln'
    Author: Impett, Leonardo; Moretti, Franco
    Published: 01.11.2017

    The object of this study is one of the most ambitious projects of twentieth-century art history: Aby Warburg's 'Atlas Mnemosyne', conceived in the summer of 1926 – when the first mention of a 'Bilderatlas', or "atlas of images", occurs in his journal... more

     

    The object of this study is one of the most ambitious projects of twentieth-century art history: Aby Warburg's 'Atlas Mnemosyne', conceived in the summer of 1926 – when the first mention of a 'Bilderatlas', or "atlas of images", occurs in his journal – and truncated three years later, unfinished, by his sudden death in October 1929. Mnemosyne consisted in a series of large black panels, about 170x140 cm., on which were attached black-and-white photographs of paintings, sculptures, book pages, stamps, newspaper clippings, tarot cards, coins, and other types of images. Warburg kept changing the order of the panels and the position of the images until the very end, and three main versions of the Atlas have been recorded: one from 1928 (the "1-43 version", with 682 images); one from the early months of 1929, with 71 panels and 1050 images; and the one Warburg was working on at the time of his death, also known as the "1-79 version", with 63 panels and 971 images (which is the one we will examine). But Warburg was planning to have more panels – possibly many more – and there is no doubt that Mnemosyne is a dramatically unfinished and controversial object of study.

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Pathosformel; Warburg, Aby Moritz; Mnemosyne; Muster <Struktur>
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  13. Quantitative formalism: an experiment
    Author: Allison, Sarah; Heuser, Ryan; Jockers, Matthew; Moretti, Franco; Witmore, Michael
    Published: 15.01.2011

    This paper is the report of a study conducted by five people – four at Stanford, and one at the University of Wisconsin – which tried to establish whether computer-generated algorithms could "recognize" literary genres. You take 'David Copperfield',... more

     

    This paper is the report of a study conducted by five people – four at Stanford, and one at the University of Wisconsin – which tried to establish whether computer-generated algorithms could "recognize" literary genres. You take 'David Copperfield', run it through a program without any human input – "unsupervised", as the expression goes – and ... can the program figure out whether it's a gothic novel or a 'Bildungsroman'? The answer is, fundamentally, Yes: but a Yes with so many complications that it is necessary to look at the entire process of our study. These are new methods we are using, and with new methods the process is almost as important as the results.

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Digital Humanities; Literaturwissenschaft; Gattungstheorie
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  14. Network theory, plot analysis
    Author: Moretti, Franco
    Published: 01.05.2011

    In the last few years, literary studies have experienced what we could call the rise of quantitative evidence. This had happened before of course, without producing lasting effects, but this time it’s probably going to be different, because this time... more

     

    In the last few years, literary studies have experienced what we could call the rise of quantitative evidence. This had happened before of course, without producing lasting effects, but this time it’s probably going to be different, because this time we have digital databases, and automated data retrieval. As Michel’s and Lieberman’s recent article on "Culturomics" made clear, the width of the corpus and the speed of the search have increased beyond all expectations: today, we can replicate in a few minutes investigations that took a giant like Leo Spitzer months and years of work. When it comes to phenomena of language and style, we can do things that previous generations could only dream of.

    When it comes to language and style. But if you work on novels or plays, style is only part of the picture. What about plot – how can that be quantified? This paper is the beginning of an answer, and the beginning of the beginning is network theory. This is a theory that studies connections within large groups of objects: the objects can be just about anything – banks, neurons, film actors, research papers, friends... – and are usually called nodes or vertices; their connections are usually called edges; and the analysis of how vertices are linked by edges has revealed many unexpected features of large systems, the most famous one being the so-called "small-world" property, or "six degrees of separation": the uncanny rapidity with which one can reach any vertex in the network from any other vertex. The theory proper requires a level of mathematical intelligence which I unfortunately lack; and it typically uses vast quantities of data which will also be missing from my paper. But this is only the first in a series of studies we’re doing at the Stanford Literary Lab; and then, even at this early stage, a few things emerge.

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Digital Humanities; Literaturwissenschaft; Handlung <Literatur>; Netzwerktheorie; Charakterstudie; Charakterisierung
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  15. Becoming Yourself : The Afterlife of Reception
    Author: Finn, Ed
    Published: 15.09.2011

    If there is one thing to be learned from David Foster Wallace, it is that cultural transmission is a tricky game. This was a problem Wallace confronted as a literary professional, a university-based writer during what Mark McGurl has called the... more

     

    If there is one thing to be learned from David Foster Wallace, it is that cultural transmission is a tricky game. This was a problem Wallace confronted as a literary professional, a university-based writer during what Mark McGurl has called the Program Era. But it was also a philosophical issue he grappled with on a deep level as he struggled to combat his own loneliness through writing. This fundamental concern with literature as a social, collaborative enterprise has also gained some popularity among scholars of contemporary American literature, particularly McGurl and James English: both critics explore the rules by which prestige or cultural distinction is awarded to authors (English; McGurl). Their approach requires a certain amount of empirical work, since these claims move beyond the individual experience of the text into forms of collective reading and cultural exchange influenced by social class, geographical location, education, ethnicity, and other factors. Yet McGurl and English's groundbreaking work is limited by the very forms of exclusivity they analyze: the protective bubble of creative writing programs in the academy and the elite economy of prestige surrounding literary prizes, respectively. To really study the problem of cultural transmission, we need to look beyond the symbolic markets of prestige to the real market, the site of mass literary consumption, where authors succeed or fail based on their ability to speak to that most diverse and complicated of readerships: the general public. Unless we study what I call the social lives of books, we make the mistake of keeping literature in the same ascetic laboratory that Wallace tried to break out of with his intense authorial focus on popular culture, mass media, and everyday life.

     
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    Collection: Stanford Literary Lab
    Subjects: Digital Humanities; Literarisches Leben; Literaturrezeption; Foster-Wallace, David
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  16. A Quantitative Literary History of 2,958 Nineteenth-Century British Novels : The Semantic Cohort Method
    Author: Heuser, Ryan; Le-Khac, Long
    Published: 01.05.2012

    The nineteenth century in Britain saw tumultuous changes that reshaped the fabric of society and altered the course of modernization. It also saw the rise of the novel to the height of its cultural power as the most important literary form of the... more

     

    The nineteenth century in Britain saw tumultuous changes that reshaped the fabric of society and altered the course of modernization. It also saw the rise of the novel to the height of its cultural power as the most important literary form of the period. This paper reports on a long-term experiment in tracing such macroscopic changes in the novel during this crucial period. Specifically, we present findings on two interrelated transformations in novelistic language that reveal a systemic concretization in language and fundamental change in the social spaces of the novel. We show how these shifts have consequences for setting, characterization, and narration as well as implications for the responsiveness of the novel to the dramatic changes in British society.

    This paper has a second strand as well. This project was simultaneously an experiment in developing quantitative and computational methods for tracing changes in literary language. We wanted to see how far quantifiable features such as word usage could be pushed toward the investigation of literary history. Could we leverage quantitative methods in ways that respect the nuance and complexity we value in the humanities? To this end, we present a second set of results, the techniques and methodological lessons gained in the course of designing and running this project.

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Roman; Englische Literatur; Viktorianisches Zeitalter; Kulturgeschichte; Literaturgeschichte; Digital Humanities; Methodologie; Worthäufigkeit; Quantitative Literaturwissenschaft
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  17. Style at the scale of the sentence
    Author: Allison, Sarah; Gemma, Marissa; Heuser, Ryan; Moretti, Franco; Tevel, Amir; Yamboliev, Irena
    Published: 01.06.2013

    We would study not style as such, but style 'at the scale of the sentence': the lowest level, it seemed, at which style as a distinct phenomenon became visible. Implicitly, we were defining style as a combination of smaller linguistic units, which... more

     

    We would study not style as such, but style 'at the scale of the sentence': the lowest level, it seemed, at which style as a distinct phenomenon became visible. Implicitly, we were defining style as a combination of smaller linguistic units, which made it, in consequence, particularly sensitive to changes in scale—from words to clauses to whole sentences.

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Worthäufigkeit; Stilistik; Satzanalyse; Digital Humanities; Englische Literatur
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  18. "Operationalizing": or, the function of measurement in modern literary theory
    Author: Moretti, Franco
    Published: 01.12.2013

    The concept of length, the concept is synonymous, the concept is nothing more than, the proper definition of a concept ... Forget programs and visions; the operational approach refers specifically to concepts, and in a very specific way: it describes... more

     

    The concept of length, the concept is synonymous, the concept is nothing more than, the proper definition of a concept ... Forget programs and visions; the operational approach refers specifically to concepts, and in a very specific way: it describes the process whereby concepts are transformed into a series of operations—which, in their turn, allow to measure all sorts of objects. Operationalizing means building a bridge from concepts to measurement, and then to the world. In our case: from the concepts of literary theory, through some form of quantification, to literary texts.

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Digital Humanities; Literaturtheorie; Tragödie; Dialoganalyse; Quantitative Literaturwissenschaft
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  19. Loudness in the novel
    Author: Katsma, Holst
    Published: 01.09.2014

    The novel is composed entirely of voices: the most prominent among them is typically that of the narrator, which is regularly intermixed with those of the various characters. In reading through a novel, the reader "hears" these heterogeneous voices... more

     

    The novel is composed entirely of voices: the most prominent among them is typically that of the narrator, which is regularly intermixed with those of the various characters. In reading through a novel, the reader "hears" these heterogeneous voices as they occur in the text. When the novel is read out loud, the voices are audibly heard. They are also heard, however, when the novel is read silently: in this la!er case, the voices are not verbalized for others to hear, but acoustically created and perceived in the mind of the reader. Simply put: sound, in the context of the novel, is fundamentally a product of the novel’s voices. This conception of sound mechanics may at first seem unintuitive—sound seems to be the product of oral reading—but it is only by starting with the voice that one can fully appreciate sound’s function in the novel. Moreover, such a conception of sound mechanics finds affirmation in the works of both Mikhail Bakhtin and Elaine Scarry: "In the novel," writes Bakhtin, "we can always hear voices (even while reading silently to ourselves)."

     
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    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Roman; Stimme; Romangestalt; Lautstärke; Digital Humanities; Dialoganalyse
    Rights:

    publikationen.ub.uni-frankfurt.de/home/index/help

    ;

    info:eu-repo/semantics/openAccess