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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 w3-blue-grey " href="ch5.html#ch5">5 Conclusion</a><div class="w3-bar w3-border w3-dark-grey"></div><a class="w3-bar-item w3-button w3-hover-blue-grey " href="notes.html">Notes</a><a class="w3-bar-item w3-button w3-hover-blue-grey " href="references.html">References</a><button class="w3-button w3-block w3-left-align w3-hover-blue-grey" onclick="myAccFunc('menuAcc3')">Appendix <i class="fa fa-caret-down w3-padding-small"></i></button><div id="menuAcc3" class="w3-bar-block w3-hide w3-white w3-card-4 "><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="corpus-sources.html">Sources of the Novels in the Corpus</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="appendix-figures.html">Appendix of Figures</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="index-figures.html">Index of Figures</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="index-tables.html">Index of Tables</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="index-examples.html">Index of Examples</a></div><button class="w3-button w3-hover-blue-grey w3-block w3-left-align" onclick="myAccFunc('menuAcc2')">Data and Scripts <i class="fa fa-caret-down w3-padding-small"></i></button><div id="menuAcc2" class="w3-bar-block w3-hide w3-white w3-card-4"><a href="https://github.com/cligs/bibacme" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Bibliography (Bib-ACMé)</a><a href="https://github.com/cligs/conha19" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Corpus (Conha19)</a><a href="https://github.com/cligs/scripts-nh/" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Analysis Scripts (Scripts-nh)</a><a href="https://github.com/cligs/data-nh/" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Analysis Data (Data-nh)</a><a href="tei/Henny-Krahmer_2023_Genre-Analysis-Corpus-Design.xml" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">TEI (Dissertation)</a></div>
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<h1>5 Conclusion</h1>
<p id="p767"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p767">767</a></span>A central question raised in the introduction was how literary genres
can be conceived in theoretical terms as categories that can capture the common
aspects that humans see in literary works of the same genres. Moreover, the
theoretical conception of literary genres should be able to grasp the common features
of literary works belonging to a genre on a textual level. In the context of
computational literary studies, this applies not only to the analysis of textual
properties of genres by literary scholars but also by computers. To that end,
concepts of genre stemming from literary theory were discussed in the theoretical
part of this dissertation and were related to the aims and procedures of digital
genre stylistics.</p>
<p id="p768"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p768">768</a></span>Regarding the ontological status of genres, it was argued that they can
best be understood as communicative norms or conventions which have an influence on
the stylistic form of the literary texts that participate in them. Surface cues of
the texts that are related to genre labels can be interpreted as traces or “normative
facts”, in the terms of Hempfer (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1973<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>), which are left by the genre conventions. In this way, even a digital
stylistic text analysis can capture elements of communicative phenomena that are,
at
least to a certain degree, determined by factors that lie outside of the syntactic
and semantic level of literary texts.</p>
<p id="p769"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p769">769</a></span>As a second aspect of the theoretical part of this dissertation, the
usefulness of semiotic models of genres for the modeling of generic terms was
highlighted. They allow to organize conventional signals that are transported by
genre labels on different linguistic and contextual levels so that stylistic analyses
can focus on selected semiotic levels. Semiotic levels include the thematic one,
which is, for instance, primarily addressed by sentimental or social novels, or the
level concerned with the relationship of the texts to reality, for which historical,
science fiction, or fantastic novels are examples. These are only two of the possible
semiotic levels to which generic names can refer. Most of the genre labels do not
refer to one level exclusively, but it is helpful to decide on a specific dimension
of genre discourse that is examined, to compare genres or subgenres on a similar
level. To make decisions for selected levels of analysis is especially relevant for
digital genre stylistics because corpus studies are usually performed in a
contrastive setting, either by comparing one subgenre to a larger corpus covering
a
superordinate major genre or by opposing individual genres or subgenres directly.
Analyzing the discursive levels that genre labels refer to can also provide useful
hints about the textual traits that could be relevant for them and can lead to
hypotheses about the stylistic characteristics of the texts participating in the
genre in question. For thematic subgenres, for instance, topic features can be a good
choice. However, it must be assumed that most genres are defined on several textual
levels at once. In any case, in digital stylistic analysis, the textual traits must
all be captured on the textual surface, and they must therefore be formalized and
leveled down to text style, as is done by using topics as indicators for thematic
developments. As a result, other aspects of text surface style may enter the feature
space. In the case of topics, for example, not only thematic elements become visible
but also aspects of the setting, plot, or specific literary motifs. This shows that
a
connection between genre conventions, textual traits of genres, and surface style
can
be assumed and deduced, or induced, but that this connection is a complex one, which
still needs to be investigated further in theoretical and empirical terms.</p>
<p id="p770"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p770">770</a></span>A third finding of the theoretical part was that for digital genre
stylistics, it is advantageous to have separate concepts of literary text types,
conventional genres, and textual genres. In this way, not only theoretically driven
genre analyses, starting from certain concepts of textual genres are enabled, but
also exploratory ones concerned with groupings of texts that emerge from stylistic
features. This is important because it is not necessarily directly possible to
clarify the relationship between literary definitions of genres and surface style
captured in computational analyses. Theoretically, such a relationship is most often
hypothesis-driven, and practically, many tools that formalize literary concepts are
still missing. In literary genre theory, there are proposals of how to distinguish
text types from genres, but they usually adhere to a relationship of dependence
between both. Here it was proposed to completely separate the levels of literary text
types and literary conventional genres to be able to define and find intersections
of
both as a result.</p>
<p id="p771"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p771">771</a></span>In the part on the different literary theoretical concepts of genres as
categories (classes, prototypes, and families), it was laid out how they can be
applied fruitfully by using statistical categorization methods. Classification,
clustering, or network analysis constitute different options to analyze literary text
types and to relate them to conventional genres. It was argued that there is no
exclusive relationship between each of these text categorization methods and the
different literary theoretical concepts of genre categories. Instead, each method
covers different aspects of several types of categories. Statistical classification,
for instance, can also be used to determine the prototypicality of literary texts
as
instances of genres to a certain degree. On the other hand, networks can not only
be
used for family resemblance analyses, but also allow the formation of clusters in
the
networks, which then represent delimited groups.</p>
<p id="p772"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p772">772</a></span>In the chapter on style, a definition of literary genre style was
formulated that applies the concept of style formulated by Herrmann, Schöch, and van
Dalen-Oskam (<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">Herrmann, J. Berenike, Christof Schöch, and Karina
van Dalen-Oskam. 2015. “Revisiting Style, a Key Concept in Literary Studies.”
<em>Journal of Literary Theory</em> 9 (1): 25–52. <a href="https://doi.org/10.1515/jlt-2015-0003">https://doi.org/10.1515/jlt-2015-0003</a>.</span></span>) to the
field of literary genre analysis. In this definition, the distinction between
communicatively determined, conventional genres and formally determined literary text
types is included. Furthermore, a distinction is made between higher-level stylistic
traits and low-level surface cues, and it is formulated which types of linguistic
features are considered stylistic cues. In this way, the relationships between
literary genres and their stylistic characteristics on the one hand and linguistic
features of the surface of texts on the other hand is differentiated and made
clear.</p>
<p id="p773"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p773">773</a></span>In the last part of the Concepts chapter, selected thematic subgenres
and literary currents of the nineteenth-century Spanish-American novel were presented
with a view to genre-stylistic characteristics. In this way, the textual analysis
of
these subgenres conducted in the Analysis chapter of the dissertation was prepared
and related to established literary-historical knowledge.</p>
<p id="p774"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p774">774</a></span>The various considerations of the theory section contribute to relating
established theoretical concepts of literary and linguistic studies to computer-based
analyses of literary genres. On the one hand, this should promote a theoretical
foundation of textual analyses of digital genre stylistics. On the other hand, it
should also be possible to relate the results obtained with digital genre stylistic
analyses to previous results obtained with classical methods. They should not be
detached from previous research in literary history, but should enter, be, and remain
in dialogue with it. Recent developments in the digital humanities show that the need
for a stronger theoretical foundation is seen. For example, a working group on
digital humanities theory has been established in the DHd association (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">AG Digital Humanities Theorie
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">AG Digital Humanities Theorie. 2023. Digital
Humanities Theorie. Theorie und Theoriebildung in den digitalen
Geisteswissenschaften. <a href="https://web.archive.org/web/20230208165032/https://dhtheorien.hypotheses.org/">https://web.archive.org/web/20230208165032/https://dhtheorien.hypotheses.org/</a>.</span></span>). In relation to the results of this dissertation, the next step will be
to see to what extent the suggestions made here for concepts of digital genre
stylistics can be useful not only for the analyses in this specific thesis, but also
in other application studies. Furthermore, the conceptual considerations of genre
categories and computational categorization can still be extended and need to be
supported by further empirical studies.</p>
<p id="p775"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p775">775</a></span>In the empirical part of this thesis, the methodology for the creation
of a digital bibliography serving as a sampling frame and a text corpus aimed at the
analysis of nineteenth-century Spanish-American novels with regard to subgenres was
discussed and presented in detail. The approaches taken were outlined in practical
terms and by example, addressing the specific questions, challenges, and solutions
found for the bibliography and corpus at hand. Still, the proceedings followed were
also the result of general considerations and discussions in the CLiGS project. They
can be taken as a proposal for how to prepare a digital corpus of literary texts for
genre analysis in a good way. The findings of these reflections in the project led
to
the creation of the “textbox” as an exemplary set of text collections for digital
literary analysis (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schöch 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">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>). For this dissertation in particular, the considerations and
implementation of data modeling in the digital bibliography on novels, their
subgenres, and the editions in which they were published is also of a general
character and it goes beyond what was worked out on text corpora in the project
group. Own decisions have also been made for the digital text corpus regarding its
composition and the modeling of the metadata and text structure. These have mainly
resulted from the subject matter of the nineteenth-century Spanish-American
novels.</p>
<p id="p776"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p776">776</a></span>One question was, for example, how to define the limits of the corpus
in generic terms – how to determine if a literary work can be considered a novel in
several hundreds of cases without being able to read every single work? Here, the
decision was to start from a very general formal definition of the novel and to check
the fulfillment of its requirements in part through quantitative analysis and in part
by evaluating available metadata and by checking the information in paratexts
manually. The selection of subgenres, on the other hand, was not predetermined, so
that the bibliography Bib-ACMé and the corpus Conha19 constitute general resources
covering the Spanish-American nineteenth-century novel as it is represented by works
from the three countries Argentina, Cuba, and Mexico. It is hoped that this corpus
will be used in the future by other researchers for digital text analysis, which may
also have a different focus than that pursued here. For example, the corpus could
also be used for the study of authorship, for an analysis that examines chronological
developments within the nineteenth century, or for the analysis of specific motifs
or
themes in the texts. Individual texts from Conha19 encoded in TEI could also serve
as
a starting point for the development of digital critical editions of selected works.
Finally, a desirable future development is to add novels from other Spanish-American
countries to the corpus, or texts from other major genres (for example, drama), in
order to make cross-genre analyses possible.</p>
<p id="p777"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p777">777</a></span>As the analysis of subgenres was the goal of this thesis, a particular
focus in the corpus-building process was on the information about the subgenres of
the novels, which was collected by evaluating different literary-historical sources
and explicit and implicit historical genre labels and signals. All of this material
represents the conventional level of the novels’ subgenres. It was organized by
encoding it in TEI according to an empirically induced model of discursive levels
of
subgenres, including the following levels:
<ul>
<li>thematic subgenre labels</li>
<li>labels referring to literary currents</li>
<li>labels related to the cultural-geographical and linguistic identity</li>
<li>labels pointing to the relationship between the novel and reality</li>
<li>labels concerned with the mode that a novel is narrated in</li>
<li>labels reflecting the author's or narrator's intention or attitude</li>
<li>labels that refer to the medium that a novel uses and the mode that it is
represented in linguistically or narratively</li>
</ul> An interesting question is whether other extensive empirical studies of genre
signals and genre assignments will arrive at similar categorizations, i.e., whether
a
general trend of the types of genre signals and, in particular, their frequencies
can
be identified, or whether the results obtained here are specific to Spanish-American
novels. Only further corpus-based studies of historical and literary critical genre
assignments will be able to show this.</p>
<p id="p778"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p778">778</a></span>The information on subgenres was evaluated in the metadata analysis
part to see which subgenres were frequent enough to be analyzed on a textual level
with quantitative methods. It was found that several of the discursive levels
initially proposed by Raible (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1980<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Raible, Wolfgang. 1980. “Was sind Gattungen? Eine Antwort
aus semiotischer und textlinguistischer Sicht.” <em>Poetica</em> 12:
320–349.</span></span>)
and Schaeffer (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1983<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schaeffer, Jean-Marie. 1983. <em>Qu’est-ce qu’un
genre littéraire?</em> Paris: Seuil.</span></span>) are present
in literary critical and also explicit historical subgenre labels but that only a
few
of them are quantitatively relevant. The frequent ones were found in particular on
the thematic level (“novela histórica”, “novela de costumbres”, “novela sentimental”,
etc.) and the contextual levels of literary current (“novela romántica”, “novela
realista”, “novela naturalista”, and so on) as well as of the cultural, geographical,
or linguistic identity (as expressed through the labels “novela argentina”, “novela
mexicana”, “novela cubana”, or “novela original”). For the text analysis part, it
was
decided to focus on the thematic subgenres and the literary currents. Labels related
to the cultural, geographical, or linguistic identity have been evaluated in a
research article outside of the scope of this dissertation (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Henny-Krahmer 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">Henny-Krahmer, Ulrike. 2022. “Novelas originales y
americanas. A Digital Analysis of References to Identity in Subtitles of Spanish
American 19th Century Novels.” <em>apropos [Perspektiven auf die Romania]</em>
9: 14–36. <a href="https://doi.org/10.15460/apropos.9.1893">https://doi.org/10.15460/apropos.9.1893</a>.</span></span>). Thus, not all categories
of genre labels were effectively evaluated in this thesis. The great variety of
subgenre labels found for the novels in Bib-ACMé and Conha19 shows how multifaceted
the novel as a genre is and further analyses that can proceed from the material
encoded here are possible. As a result, quantitative digital text analysis is only
one of several possible approaches for analyzing the subgenres of the
nineteenth-century Spanish-American novel. The big pool of different subgenres and
generic terms that are not so frequent can only meaningfully be analyzed
qualitatively.</p>
<p id="p779"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p779">779</a></span>Besides assessing different levels and perspectives on subgenres of the
novels, the metadata analysis also served to check how well the corpus represents
the
material collected in the more extensive bibliography in quantitative terms. The
relationship between both resources was found to be approximately proportional in
most but not all aspects. For example, the corpus contains more works written by
well-known, high-prestige authors than the bibliography. This is not surprising
because these are the works that have primarily been digitized. Still, this aspect
of
the corpus can still be improved. It is desirable to enlarge the corpus in the future
and include even more works of lesser-known authors than the ones it already
contains. That would make the corpus more representative of the whole production of
Argentine, Cuban, and Mexican nineteenth-century novels. As the corpus is published
with this dissertation, it can be hoped that it provides a starting point for
building a more extensive collection of nineteenth-century Spanish-American
novels.</p>
<p id="p780"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p780">780</a></span>In the text analysis part, statistical classification was used as the
first method for categorizing the novels by their subgenre. To this end, one primary
subgenre label was determined for each novel, and the classification was done for
thematic subgenres and literary currents. Both subgenres and currents can be
classified well on the basis of most frequent words and topic features. Experiments
with three types of classifiers (K-nearest neighbor, Support Vector Machine, and
Random Forest) and several different feature sets were run. In the case of MFW,
different token units, numbers of words, and normalization techniques were used. For
topics, different numbers of topics and optimization parameters for the modeling were
chosen. The results showed that both subgenres and currents are textually coherent
to
degrees of 70 to 90 %, depending on the type of features and subgenre. Textual
coherence here refers to the degree to which the communicatively determined subgenre
assignments of the novels coincide with their class assignments as determined by text
classification, measured in classification accuracy.</p>
<p id="p781"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p781">781</a></span>In general, the differences between the two feature types were minor.
In the case of thematic subgenres, there was almost no difference in the accuracy
values between most frequent words and topics, and for literary currents, most
frequent words worked a bit better than topics.</p>
<p id="p782"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p782">782</a></span>The classification results for the literary currents were better than
for the thematic subgenres. This was not expected from the beginning because the
currents are broader phenomena which, at least in the case of the realist and
romantic novels, include several thematic subgenres. While the realist and
naturalistic novels were mainly published in the last two decades of the nineteenth
century and the first decade of the twentieth century, the romantic novel was present
from the early decades of the nineteenth century up to the last ones, with a dominant
role up to the 1870s. So also diachronically, especially the romantic novels
constitute a general phenomenon. The classification results suggest that the literary
currents nonetheless represent a level of the novels that can be captured better
stylistically than the thematic subgenres.</p>
<p id="p783"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p783">783</a></span>That literary currents can be better recognized stylistically than
thematic subgenres was also visible in the visualizations of the amount of correct
and wrong classifications for individual novels of the corpus. For the thematic
subgenres, there were cases of regular false positives and false negatives, that is,
novels that carry the respective genre label but were classified as another subgenre
in more than 70 % of the cases or novels that do not carry the label but were
recognized as members of the subgenre almost in every case. Such instances of novels
were not present in the results for the literary currents. The same could be observed
for the “middle range” of novels that are misclassified in around 30 to 70 % of the
cases, which happened for the thematic subgenres but not for the literary currents.
This concludes that the levels of genre convention and text type are more congruent
for the literary currents than for the thematic subgenres. When evaluating these
results, it has to be kept in mind that the labels for literary currents were mainly
collected from literary-historical sources. In contrast, the thematic labels are also
present as explicit historical labels on the texts, so it is more probable that there
are discrepancies between convention and text type than for critically established
labels. Nevertheless, it may as well be the case that there is less consensus on the
major theme of novels than on their dominant style in terms of literary currents.</p>
<p id="p784"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p784">784</a></span>The text classification in the context of this dissertation has not yet
taken into account the multiple subgenre assignments recorded in Bib-ACMé and
Conha19. For the purposes of this thesis, the most plausible primary subgenre label
was selected as the classification target in order to establish a classification
baseline in a classical setting in the first place. This has not been done before
for
Spanish-American novels. The next obvious step is applying multi-label classification
procedures to include secondary and further subgenre assignments. Especially in the
case of thematic subgenres, there are very often multiple classifications on a
communicative level. These occur in the historical subtitles of the novels (e.g.,
“novela histórica de costumbres”) and especially when literary scholars describe the
novels in terms of thematic subgenres. It can therefore be assumed that such multiple
attributions are also textually and stylistically relevant. Another way to further
map the complexity of the novels in terms of their subgenres would be to include
chapter structures or to divide the novels into text sections to classify them
individually. The corpus Conha19 is well prepared for both approaches.</p>
<p id="p785"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p785">785</a></span>As an alternative approach to text categorization, a family resemblance
network analysis was conducted, with a focus on the internal structure of individual
subgenres and a focus on the historical novel. It showed that specific subtypes of
historical novels are obscured in the classification approach because they do not
represent the quantitatively dominant type of romantic historical novels. However,
these subtypes of historical novels become visible as a family when the corpus of
historical novels is partitioned into network communities based on individual
similarity relationships between the texts. When two subgenres were combined in the
network, it became clear that several factors other than genre influence the style
of
the novels, for instance, the period of publication or the narrative perspective.
These results show that statistical classification is a powerful method that yields
very good results but also occludes interior subdivisions and stylistic differences
of the novels that are part of the subgenres, so for exploratory and refining
analyses, a family resemblance network analysis is a good alternative.</p>
<p id="p786"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p786">786</a></span>Returning to the observation made at the outset that categorization is
a basic human need, the analyses here have shown that human assignments of texts to
genres, in terms of communicative phenomena, function differently from
computer-assisted stylistic genre classification. The classifiers are powerful tools
that can recognize which subgenres the novels belong to in most cases. However, they
do not (yet) understand how the text style is related to the perceived conventional
genre of the texts. This led to errors and unexpected results in some individual
cases. The classifiers are more strict in interpreting the textual surface
structures. Because they are different in that way from a human author or reader,
through the analysis of mistakes that the statistical models make, they bring the
opportunity to understand better how genres function as communicative phenomena. This
understanding is supported by alternative categorization methods, such as the family
resemblance approach presented in this thesis. Research in digital genre stylistics
and computational literary studies needs to continue to engage with literary theory,
literary history, and computational approaches to develop their own suitable methods
for their objects of study.</p>
<p id="p787"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p787">787</a></span>In the future, the text analysis can be developed further by using
other features, especially those that can be related more directly to literary
concepts, such as character constellations or literary space. In many cases, however,
the computational caption of such features on the textual surface has yet to be
developed. Another enhancement for the analysis would be not to analyze the novels
as
a whole, as was done here, but to evaluate the results for text segments, chapters,
or different parts of the narration, such as direct speech versus narrator text. The
textual characteristics of genres may also be defined in connection to these
substructures of the texts and not only for the entire texts. Furthermore,
classification and network analysis are just two of the further available options
of
computational text categorization methods that could be employed for genre analysis.
Especially the concept of genres as prototypical structures could be approached with
clustering methods, for example, which has not been done in the scope of this
dissertation. Moreover, of course, there should be more empirical studies based on
other literatures and corpora in order to be able to identify broader trends in the
history of genres and to be able to come to more general conclusions than was
possible in this work on the nineteenth-century Spanish-American novel. Thus, future
research directions in digital genre stylistics could be envisioned here but have
yet
to be carried out. Hopefully, the spirit of Open Science will be followed in future
genre-stylistic research, as it has been done in this work, by making the texts,
data, and scripts all openly available, as far as legally possible.</p>
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<p>Henny-Krahmer, Ulrike. 2023. <em>Genre Analysis and Corpus Design.
Nineteenth-Century Spanish-American Novels (1830–1910).</em> HTML version, v1.0.1.
Schriften des Instituts für Dokumentologie und Editorik 17. Berlin: IDE.
DOI: <a href="https://doi.org/10.5281/zenodo.8169081">10.5281/zenodo.8169081</a></p>
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