oxford wordsmith tools - wordpress.com · 2013. 8. 6. · 2 figure compositions , but pollock soon...

Going Digital CHASE Workshop - Digital Analysis of Language Data,

mn guillot 10 July 2013

GOING DIGITAL CHASE WORKSHOP

DIGITAL ANALYSIS OF LANGUAGE DATA

OXFORD WORDSMITH TOOLS

(Mike Scott)

http://www.lexically.net/wordsmith/index.html

http://www.lexically.net/wordsmith/index.htmlhttp://www.lexically.net/wordsmith/index.htmlhttp://www.lexically.net/wordsmith/index.htmlhttp://www.lexically.net/wordsmith/index.htmlhttp://www.lexically.net/wordsmith/index.html



WORDSMITH TOOLS

Wordsmith Tools

integrated suite of programs

for looking at how words behave in texts.

(used by OUP for their lexicographic work [dictionaries], by language teachers and students, by researchers investigating language patterns across languages world-wide)

Mike Scott, 2010: 2



WORDSMITH TOOLS FEATURES

MAIN TOOLS

CONCORD any word or phrase in context

(and the company they keep)

WORDLIST list of all words/word-clusters in a text/corpus,

alphabetical or frequency order

statistical information

KEYWORDS key words in a text/corpus



POLLOCK MOMA

NN WithRelation Texts TotalTotal LeftTotal Right L5 L4 L3 L2 L1 Centre R1 R2 R3 R4 R5

1 pollock 0.000 1 17 0 0 0 0 0 0 0 17 0 0 0 0 0

2 pollock 0.000 1 8 3 5 0 0 2 1 0 0 0 1 3 0 1

3 pollock 0.000 1 5 1 4 0 0 1 0 0 0 1 0 1 2 0

4 pollock 0.000 1 5 3 2 0 1 0 1 1 0 0 0 0 0 2

N Concordance Set Tag Word #SentSentParaParaHeadHeadSectSect File %

1 Pollock to recognize the expressive at The Museum of Modern Art, led 234 1157% 022% 022%Moma Jackson Pollock 22%

2 Pollock soon began to rely exclusively figure compositions, but 425 1968% 039% 039%Moma Jackson Pollock 39%

3 Pollock retrospective at The Museum of . Twenty-five years later, the 1967 1,026 4525% 095% 095%Moma Jackson Pollock 95%

4 Pollock out." One critic noted: "Pollock kids who think it's simple to splash a 872 3898% 081% 081%Moma Jackson Pollock 80%

5 Pollock now freed himself to discover rely exclusively on his new technique. 435 2011% 040% 040%Moma Jackson Pollock 40%

6 Pollock November 1, 1998 to February 2, 1 0 3% 0 0% 0 0%Moma Jackson Pollock 0%

7 Pollock: Is he the greatest living painter story posing the question: "Jackson 555 2560% 051% 051%Moma Jackson Pollock 51%

8 "Pollock has confounded those who splash a Pollock out." One critic noted: 877 3931% 081% 081%Moma Jackson Pollock 81%

9 Pollock had an itinerant, hardscrabble since. Born in Cody, Wyoming, in 1912, 112 662% 010% 010%Moma Jackson Pollock 11%

10 Pollock emphasized his control over the . In a radio interview from that year, 795 3656% 074% 074%Moma Jackson Pollock 73%

11 Pollock embarked upon a new series of the painting technique. In spring 1951, 806 3719% 075% 075%Moma Jackson Pollock 75%

12 Pollock dripped paint, more recent , Process Art, and Performance. Where 1,049 4616% 097% 097%Moma Jackson Pollock 97%

13 Pollock demonstrated that American than any other single painter, Jackson 16 053% 0 1% 0 1%Moma Jackson Pollock 1%

14 Pollock created three monumental . In the summer and fall of 1950, 626 2838% 058% 058%Moma Jackson Pollock 57%

15 Pollock became acquainted with new set up a workshop in New York, where 181 954% 017% 017%Moma Jackson Pollock 17%

16 Pollock as the quintessential modern his mouth, created an indelible image of 605 2772% 056% 056%Moma Jackson Pollock 55%

17 Pollock achieved an unprecedented and mocked by the popular press, 54 252% 0 5% 0 5%Moma Jackson Pollock 5%



POLLOCK TATE MODERN (concordance, clusters, collocates)

N Concordance Set Tag Word #SentSentParaParaHeadHeadSectSect File %

1 Pollock was fascinated by ‘primitive’ art energy. Like many modernist artists, 795 3517% 092% 092%Tate Modern Pollock 91%

2 Pollock was beginning to find his own T00384 Not on display Display caption 475 2546% 055% 055%Tate Modern Pollock 54%

3 Pollock said in 1947. By dripping and much aware of what is taking place’, 161 595% 019% 019%Tate Modern Pollock 18%

4 Pollock’s exploration of the theme may struggle between Cain and Abel. 518 2711% 060% 060%Tate Modern Pollock 59%

5 Pollock’s Birth is shot through with T03978 Not on display Display caption 757 3289% 087% 087%Tate Modern Pollock 87%

6 Pollock’s aim to work directly from his barn without heating or lighting. 23 2 7% 0 3% 0 3%Tate Modern Pollock 3%

7 Pollock moved from New York City to Display caption In 1945, 4 033% 0 0% 0 0%Tate Modern Pollock 0%

8 Pollock had achieved considerable on display Display caption By 1951, 610 2972% 070% 070%Tate Modern Pollock 70%

9 Pollock frequently emphasised the there was an element of chance, 395 1947% 046% 046%Tate Modern Pollock 44%

10 Pollock began to drip and pour paint in of Man (Room 2) Display caption 310 1476% 036% 036%Tate Modern Pollock 35%

11 Pollock began this painting by pouring in the rhythmic patterns he created. 194 7 8% 022% 022%Tate Modern Pollock 22%

12 Pollock(1912 1956) Title Naked Man article Artwork details Artist Jackson 568 2915% 066% 066%Tate Modern Pollock 64%

13 Pollock(1912 1956) Title Yellow Islands article Artwork details Artist Jackson 244 923% 028% 028%Tate Modern Pollock 27%

14 Pollock(1912 1956) Title Summertime: 2005 Artwork details Artist Jackson 106 512% 012% 012%Tate Modern Pollock 12%

15 Pollock(1912 1956) Title Number 14 article Artwork details Artist Jackson 711 3217% 082% 082%Tate Modern Pollock 81%

16 Pollock(1912 1956) Title Birth Date c.article Artwork details Artist Jackson 834 3626% 096% 096%Tate Modern Pollock 96%

17 Pollock(1912 1956) Title Number 23 article Artwork details Artist Jackson 415 2020% 048% 048%Tate Modern Pollock 47%

N Cluster Freq. Set Length

1 DETAILS ARTIST JACKSON 6 3

2 JACKSON POLLOCK 1912 6 3

3 POLLOCK 1912 1956 6 3

4 ARTWORK DETAILS ARTIST 6 3

5 1912 1956 TITLE 6 3

6 ARTIST JACKSON POLLOCK 6 3

7 ARTICLE ARTWORK DETAILS 5 3

NN WithRelation Texts TotalTotal LeftTotal Right L5 L4 L3 L2 L1 Centre R1 R2 R3 R4 R5

1 pollock 0.000 1 17 0 0 0 0 0 0 0 17 0 0 0 0 0

2 pollock 0.000 1 8 8 0 1 2 2 3 0 0 0 0 0 0 0

3 pollock 0.000 1 6 6 0 0 0 0 0 6 0 0 0 0 0 0

4 pollock 0.000 1 6 6 0 0 0 6 0 0 0 0 0 0 0 0

5 pollock 0.000 1 6 6 0 0 6 0 0 0 0 0 0 0 0 0

6 pollock 0.000 1 6 0 6 0 0 0 0 0 0 0 6 0 0 0

7 pollock 0.000 1 6 0 6 0 0 0 0 0 0 6 0 0 0 0

8 pollock 0.000 1 6 6 0 0 0 0 6 0 0 0 0 0 0 0

9 pollock 0.000 1 6 0 6 0 0 0 0 0 0 0 0 6 0 0

10 pollock 0.000 1 5 5 0 5 0 0 0 0 0 0 0 0 0 0

11 pollock 0.000 1 5 5 0 0 0 2 0 3 0 0 0 0 0 0



LORRAIN ASHMOLEAN OXFORD

N Cluster Freq. Set Length Related

1 BROWN WASH MRD 20 3

2 AND BROWN INK 20 3

3 BROWN INK WITH 13 3

4 AND BROWN WASH 12 3

5 WHITE BODY COLOUR 12 3

6 BROWN INK AND 12 3

7 WITH WHITE BODY 12 3

8 ASHMOLEAN MUSEUM OXFORD 11 3

9 INK WITH BROWN 10 3

10 WITH BROWN WASH 10 3

11 INK AND BROWN 8 3

12 AND GREY BROWN 7 3

13 WASH TOUCHED WITH 6 3

14 INK WITH GREY 6 3

15 GREY BROWN WASH 6 3

16 WITH GREY WASH 5 3

17 BROWN AND GREY 5 3

18 BROWN WASH TOUCHED 5 3

19 GREY WASH MRD 5 3

20 TOUCHED WITH WHITE 5 3

N Word With Relation Texts TotalTotal LeftTotal Right L5 L4 L3 L2 L1 Centre R1 R2 R3 R4 R5

1 WITH wash 0.000 1 41 28 13 1 4 4 18 1 0 3 8 1 0 1

2 WITH washes 0.000 1 8 5 3 2 3 0 0 0 0 0 1 1 0 1

3 WHITE wash 0.000 1 12 1 11 1 0 0 0 0 0 0 3 7 1 0

4 WASHES washes 0.000 1 9 0 0 0 0 0 0 0 9 0 0 0 0 0

5 WASH wash 0.000 1 61 1 1 0 1 0 0 0 59 0 0 0 1 0

6 TOUCHED wash 0.000 1 6 1 5 0 0 1 0 0 0 5 0 0 0 0

7 THE wash 0.000 1 14 5 9 1 1 2 1 0 0 0 1 5 1 2

8 PEN wash 0.000 1 10 6 4 1 4 0 1 0 0 0 0 0 0 4

9 PALE wash 0.000 1 5 4 1 0 0 0 3 1 0 0 0 0 1 0

10 OXFORD wash 0.000 1 11 0 11 0 0 0 0 0 0 0 0 0 0 11

11 OF wash 0.000 1 11 3 8 1 1 0 0 1 0 0 0 1 2 5

12 MUSEUM wash 0.000 1 12 0 12 0 0 0 0 0 0 0 0 0 12 0

13 MRD wash 0.000 1 30 0 30 0 0 0 0 0 0 27 0 0 2 1

14 INSCRIBED wash 0.000 1 11 0 11 0 0 0 0 0 0 0 0 10 0 1

15 INK wash 0.000 1 30 30 0 3 6 20 1 0 0 0 0 0 0 0

16 IN wash 0.000 1 7 1 6 0 0 1 0 0 0 0 1 0 5 0

17 GREY wash 0.000 1 18 17 1 0 0 2 6 9 0 0 0 0 0 1

18 GREY washes 0.000 1 6 6 0 0 0 2 3 1 0 0 0 0 0 0

19 COLOUR wash 0.000 1 10 0 10 0 0 0 0 0 0 0 0 0 3 7

20 CHALK wash 0.000 1 10 8 2 3 1 3 1 0 0 0 0 1 1 0

21 BROWN wash 0.000 1 60 60 0 7 20 1 0 32 0 0 0 0 0 0

22 BROWN washes 0.000 1 10 10 0 0 3 2 0 5 0 0 0 0 0 0

23 BODY wash 0.000 1 11 0 11 0 0 0 0 0 0 0 0 3 7 1

24 BLACK wash 0.000 1 6 5 1 1 4 0 0 0 0 0 1 0 0 0

25 ASHMOLEAN wash 0.000 1 12 0 12 0 0 0 0 0 0 0 0 11 0 1

26 AND wash 0.000 1 56 49 7 20 3 8 16 2 0 2 0 1 1 3

27 AND washes 0.000 1 12 9 3 0 0 3 6 0 0 2 0 1 0 0




MAIN TOOLS









POLLOCK TATE MODERN Frequency list Alphabetical list

N Word Freq. % Texts %Lemmas

1 # 73 8.30 1 100.00

2 THE 40 4.55 1 100.00

3 AND 24 2.73 1 100.00

4 OF 22 2.50 1 100.00

5 ON 17 1.93 1 100.00

6 POLLOCK 17 1.93 1 100.00

7 PAINT 16 1.82 1 100.00

8 X 16 1.82 1 100.00

9 IN 15 1.70 1 100.00

10 DISPLAY 12 1.36 1 100.00

11 BY 11 1.25 1 100.00

12 MM 11 1.25 1 100.00

13 THIS 11 1.25 1 100.00

14 A 10 1.14 1 100.00

15 HIS 10 1.14 1 100.00

16 TATE 10 1.14 1 100.00

17 TO 10 1.14 1 100.00

18 HE 9 1.02 1 100.00

19 WAS 9 1.02 1 100.00

20 ARTIST 8 0.91 1 100.00

21 CANVAS 8 0.91 1 100.00

22 WHICH 7 0.80 1 100.00

23 WITH 7 0.80 1 100.00

24 WORK 7 0.80 1 100.00

25 ACQUISITION 6 0.68 1 100.00

26 ARTWORK 6 0.68 1 100.00

27 AS 6 0.68 1 100.00

28 CAPTION 6 0.68 1 100.00

29 COLLECTION 6 0.68 1 100.00

30 DATE 6 0.68 1 100.00

31 DETAILS 6 0.68 1 100.00

32 IS 6 0.68 1 100.00

33 JACKSON 6 0.68 1 100.00

34 NOT 6 0.68 1 100.00

35 REFERENCE 6 0.68 1 100.00

36 TITLE 6 0.68 1 100.00

37 ARTICLE 5 0.57 1 100.00

38 DIMENSIONSSUPPORT 5 0.57 1 100.00

39 FROM 5 0.57 1 100.00

40 MEDIUMOIL 5 0.57 1 100.00

41 PURCHASED 5 0.57 1 100.00

42 SHARE 5 0.57 1 100.00

43 AN 4 0.45 1 100.00

44 BLACK 4 0.45 1 100.00

45 FRAME 4 0.45 1 100.00

46 H 4 0.45 1 100.00

47 HEINZ 4 0.45 1 100.00

48 J 4 0.45 1 100.00

49 OVER 4 0.45 1 100.00

50 S 4 0.45 1 100.00

51 WHITE 4 0.45 1 100.00

52 AMERICAN 3 0.34 1 100.00

53 BIRTH 3 0.34 1 100.00

54 ENERGY 3 0.34 1 100.00

55 FIGURES 3 0.34 1 100.00

56 GALLERY 3 0.34 1 100.00

57 JULY 3 0.34 1 100.00

58 LIKE 3 0.34 1 100.00

59 NUMBER 3 0.34 1 100.00

60 OUT 3 0.34 1 100.00

61 PAINTING 3 0.34 1 100.00

62 POURING 3 0.34 1 100.00

63 PRESENTED 3 0.34 1 100.00

64 THAT 3 0.34 1 100.00

65 WAR 3 0.34 1 100.00

66 ABSTRACT 2 0.23 1 100.00

67 AM 2 0.23 1 100.00

68 ART 2 0.23 1 100.00

69 BEGAN 2 0.23 1 100.00

70 BUT 2 0.23 1 100.00

71 C 2 0.23 1 100.00

72 CO 2 0.23 1 100.00

73 DRIPPING 2 0.23 1 100.00

74 ENAMEL 2 0.23 1 100.00

75 EUROPE 2 0.23 1 100.00

76 EXPRESSING 2 0.23 1 100.00

77 EXPRESSION 2 0.23 1 100.00

78 FRIENDS 2 0.23 1 100.00

79 FUNDS 2 0.23 1 100.00

80 HAD 2 0.23 1 100.00

81 I 2 0.23 1 100.00

82 II 2 0.23 1 100.00

83 IMAGE 2 0.23 1 100.00

84 INNER 2 0.23 1 100.00

85 INTO 2 0.23 1 100.00

86 LTD 2 0.23 1 100.00

87 MAN 2 0.23 1 100.00

88 MAY 2 0.23 1 100.00

89 MODERN 2 0.23 1 100.00

90 MR 2 0.23 1 100.00

91 MRS 2 0.23 1 100.00

92 NEW 2 0.23 1 100.00

93 ONTO 2 0.23 1 100.00

94 OTHER 2 0.23 1 100.00

95 POURED 2 0.23 1 100.00

96 PROCESS 2 0.23 1 100.00

97 PROVIDED 2 0.23 1 100.00

98 REFLECT 2 0.23 1 100.00

99 RHYTHMIC 2 0.23 1 100.00

100 ROOM 2 0.23 1 100.00

101 SEEN 2 0.23 1 100.00

102 STRUGGLE 2 0.23 1 100.00

103 SUMMERTIME 2 0.23 1 100.00

104 THEME 2 0.23 1 100.00

105 WERE 2 0.23 1 100.00

106 WHEN 2 0.23 1 100.00

107 WORLD 2 0.23 1 100.00

108 YELLOW 2 0.23 1 100.00

109 ABEL 1 0.11 1 100.00

110 ABLE 1 0.11 1 100.00

111 ACCIDENTAL 1 0.11 1 100.00

112 ACCORDING 1 0.11 1 100.00

113 ACHIEVED 1 0.11 1 100.00

114 ACTS 1 0.11 1 100.00

115 ADDED 1 0.11 1 100.00

116 AFTER 1 0.11 1 100.00

117 AIM 1 0.11 1 100.00

118 ALLOWING 1 0.11 1 100.00

119 ALSO 1 0.11 1 100.00

120 ALTHOUGH 1 0.11 1 100.00

121 AMERICA 1 0.11 1 100.00

122 APPLY 1 0.11 1 100.00

123 ARC 1 0.11 1 100.00

124 ARCHETYPAL 1 0.11 1 100.00

125 AREAS 1 0.11 1 100.00

126 ARTISTS 1 0.11 1 100.00

127 ASSISTANCE 1 0.11 1 100.00

128 AT 1 0.11 1 100.00

129 AWARE 1 0.11 1 100.00

130 BACKGROUND 1 0.11 1 100.00

131 BARN 1 0.11 1 100.00

132 BASE 1 0.11 1 100.00

133 BASTING 1 0.11 1 100.00

134 BE 1 0.11 1 100.00

135 BECOME 1 0.11 1 100.00

136 BEGINNING 1 0.11 1 100.00

137 BELIEF 1 0.11 1 100.00

138 BETWEEN 1 0.11 1 100.00

139 BLED 1 0.11 1 100.00

140 BRUSH 1 0.11 1 100.00

141 CAIN 1 0.11 1 100.00

142 CAN 1 0.11 1 100.00

143 CANVASES 1 0.11 1 100.00

144 CHANCE 1 0.11 1 100.00

145 CITY 1 0.11 1 100.00

146 CIVIL 1 0.11 1 100.00

147 CIVILIZATION 1 0.11 1 100.00

148 CLEMENTE 1 0.11 1 100.00

149 COMMENTATORS 1 0.11 1 100.00

150 COMMERCIAL 1 0.11 1 100.00

151 CONSIDERABLE 1 0.11 1 100.00

152 CONTROLLED 1 0.11 1 100.00

153 CONVERTED 1 0.11 1 100.00

154 CREATED 1 0.11 1 100.00

155 CRIMSON 1 0.11 1 100.00

156 DECEMBER 1 0.11 1 100.00

157 DECISIONS 1 0.11 1 100.00

158 DELIBERATELY 1 0.11 1 100.00

159 DELICATE 1 0.11 1 100.00

160 DERIVED 1 0.11 1 100.00

161 DESIRES 1 0.11 1 100.00

162 DESPERATE 1 0.11 1 100.00

163 DIMENSIONSFRAME 1 0.11 1 100.00

164 DIRECT 1 0.11 1 100.00

165 DIRECTLY 1 0.11 1 100.00

166 DRAWN 1 0.11 1 100.00

167 DRIP 1 0.11 1 100.00

168 DRIPPED 1 0.11 1 100.00

169 EARLY 1 0.11 1 100.00

170 EFFECT 1 0.11 1 100.00

171 ELEMENT 1 0.11 1 100.00

172 EMBARKED 1 0.11 1 100.00

173 EMERGE 1 0.11 1 100.00

174 EMPHASISED 1 0.11 1 100.00

175 ENAMELS 1 0.11 1 100.00

176 ENERGETIC 1 0.11 1 100.00

177 ENGULFED 1 0.11 1 100.00

178 EXPLORATION 1 0.11 1 100.00

179 EXPLORED 1 0.11 1 100.00

180 FACES 1 0.11 1 100.00

181 FASCINATED 1 0.11 1 100.00

182 FASCISM 1 0.11 1 100.00

183 FEARING 1 0.11 1 100.00

184 FEARS 1 0.11 1 100.00

185 FEELINGS 1 0.11 1 100.00

186 FELLOWS 1 0.11 1 100.00

187 FIND 1 0.11 1 100.00

188 FINDING 1 0.11 1 100.00

189 FLAT 1 0.11 1 100.00

190 FLOOR 1 0.11 1 100.00

191 FOR 1 0.11 1 100.00

192 FORCES 1 0.11 1 100.00

193 FOUNDATION 1 0.11 1 100.00

194 FOUNTAIN 1 0.11 1 100.00

195 FRANK 1 0.11 1 100.00

196 FRATERNAL 1 0.11 1 100.00

197 FREE 1 0.11 1 100.00

N

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

N Word Freq. % Texts %

1 # 73 8.30 1 100.00

2 A 10 1.14 1 100.00

3 ABEL 1 0.11 1 100.00

4 ABLE 1 0.11 1 100.00

5 ABSTRACT 2 0.23 1 100.00

6 ACCIDENTAL 1 0.11 1 100.00

7 ACCORDING 1 0.11 1 100.00

8 ACHIEVED 1 0.11 1 100.00

9 ACQUISITION 6 0.68 1 100.00

10 ACTS 1 0.11 1 100.00

11 ADDED 1 0.11 1 100.00

12 AFTER 1 0.11 1 100.00

13 AIM 1 0.11 1 100.00

14 ALLOWING 1 0.11 1 100.00

15 ALSO 1 0.11 1 100.00

16 ALTHOUGH 1 0.11 1 100.00

17 AM 2 0.23 1 100.00

18 AMERICA 1 0.11 1 100.00

19 AMERICAN 3 0.34 1 100.00

20 AN 4 0.45 1 100.00

21 AND 24 2.73 1 100.00

22 APPLY 1 0.11 1 100.00

23 ARC 1 0.11 1 100.00

24 ARCHETYPAL 1 0.11 1 100.00

25 AREAS 1 0.11 1 100.00

26 ART 2 0.23 1 100.00

27 ARTICLE 5 0.57 1 100.00

28 ARTIST 8 0.91 1 100.00

29 ARTISTS 1 0.11 1 100.00



N Overall 1 2 text file Overall Moma Pollock online .txt Tate Modern Pollock at Tate.txt file size 12,189 6,773 5,416 tokens (running words) in text 1,972 1,092 880 tokens used for word list 1,880 1,073 807 sum of entries types (distinct words) 785 561 342 type/token ratio (TTR) 41.76 52.28 42.38 standardised TTR 52.10 52.10 standardised TTR std.dev. standardised TTR basis 1,000 1,000 1,000 mean word length (in characters) 4.97 5.03 4.89 word length std.dev. 2.68 2.65 2.71 sentences 85 48 37 mean (in words) 22.12 22.35 21.81 std.dev. 12.63 9.38 16.03 paragraphs 2 1 1 mean (in words) 940.00 1,073.00 807.00 std.dev. 188.09 headings mean (in words) std.dev. sections 2 1 1 mean (in words) 940.00 1,073.00 807.00 std.dev. 188.09 numbers removed 92 19 73 stoplist tokens removed stoplist types removed 1-letter words 79 35 44 2-letter words 307 175 132 3-letter words 317 181 136 4-letter words 297 148 149 5-letter words 237 128 109

POLLOCK AT TATE & MOMA - Statistics



STRASBOURG MUSEUM ARTISTS INFORMATION




MAIN TOOLS









EXAMPLES OF USES (Mike Smith; early WS guide)

Going Digital CHASE Workshop - Digital Analysis of Language

Data, mn guillot 10 July 2013



EXAMPLES OF USES (Mike Smith; early WS guide)



EXAMPLES OF USES (mng)

Patterns of involvement in a French TV debate

(Chair and 7 panel guests; S* - )

(manually tagged onsets of turns)



WORDSMITH – GETTING STARTED - Basic steps

Research with WordSmith Tools

http://www.lexically.net/wordsmith/corpus_linguistics_links/papers_using_wordsmith.htm

Journal Articles

Chapters

Books

Theses and Dissertations

Online Resources

See also: citing WordSmith, my publications (M Smith); Useful Corpus Linguistics links

http://www.lexically.net/wordsmith/corpus_linguistics_links/papers_using_wordsmith.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/papers_using_wordsmith.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/papers_using_wordsmith.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/papers_using_wordsmith.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/papers_using_wordsmith.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/papers_using_wordsmith.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/articles_using_wordsmith.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/articles_using_wordsmith.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/chapters_using_wordsmith.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/books_using_wordsmith.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/theses_using_wordsmith.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/online_resources_using_wordsmith.htmhttp://www.lexically.net/publications/citing_wordsmith.htmhttp://www.lexically.net/publications/citing_wordsmith.htmhttp://www.lexically.net/publications/publications.htmhttp://www.lexically.net/wordsmith/corpus_linguistics_links/index.html



WORDSMITH BASIC EXERCISES

PRACTICE CORPUS - very small

Museum texts

Practical information

Tate Modern (London)

Moma [in several languages]) (NY)

Exhibits panel and label texts

UK Cambridge thematic exhibition

UK Oxford thematic exhibition

Fr Strasbourg – artists panels

UK Tate Modern (Pollock)

US Moma (Pollock)

Questions (?!) - to what extent do texts in museums reflect museum policies/practices (post-modern museum)

- relationship between language and spectatorial experience?

- issues/implications from the point of view of translation

Over-ambitious and unrealistic (even as micro research) => general backdrop for exercises




(see also get started guide link, bottom left-hand side of the screen)

Choosing texts (txt files) - this can be done

from the main controller screen

Under File (top left-hand corner) => click Chose texts

and follow instructions below

from each of the three tools

Click Concord => click settings

“ Keywords => “ “

“ Wordlist => “ “

and follow instructions below (for WordList)




WordList

1) Browse and select file(s) eg Chase Workshop 10 July 2013 text data

=> Museum artists or shows information

=> Cambridge thematic

=> (Oxford thematic)

2) Drag requisite file(s) eg [Cambridge thematic] panel text all (23K)

from left- to right-hand panel + (Oxford thematic gallery panel (58K))

(to clear selection, click ≡ Clear)

3) WordList - tool selectedby default in dropdown menu [just above right-hand panel]

(to change the selection use the dropdown menu/click on the requisite tool)

=> click √ ok (just above the dropdown menu);

4) click ok in the next dialogue box (unless you want to change settings)

5) click ‘Make a word list now’ in the next dialogue box (if several files are shown in the right-hand side panel, there will be a prompt to choose between ‘Make a [single] word list now’ [for all files selected] or ‘Make a

batch now’ [one list per file selected]).




Default result frequency list

For other options => click tabs at the bottom of the screen to access

alphabetical list

statistics (overall and for each file when several files are analysed)

(All results can be saved and printed)

INFORMATION FROM FREQUENCY WORDLIST ?

type of exhibition? focus? approach? other?

--------------------------------------------------------------------------------------------------------------------

Concordances of a word in the (frequency or alphabetical) from Wordlist

=> highlight word

=> click compute on the task bar

=> click Concordance see eg ‘woman’




Concord

1) Browse and select file(s) eg Chase Workshop 10 July 2013 text data

=> Museum artists or shows information

=> [Cambridge thematic]

=> (Oxford thematic)

2) Drag requisite file(s) eg [Cambridge thematic] panel text all (23K)

from left- to right-hand panel + ((Oxford thematic) gallery panel (58K))

(to clear selection, click ≡ Clear)

3) Concord - tool selectedby default in dropdown menu [just above right-hand panel]

(to change the selection use the dropdown menu/click on the requisite tool)

=> click √ ok (just above the dropdown menu);

4) Enter search word(s) in next dialogue box eg woman/women (see guidelines bottom half of screen)

click √ ok or painting* Click

Option - blank/restore the search word column – press the space bar




Concord (ctd)

5) Explore options at the bottom of the screen -

collocates

plot

patterns

clusters

6) Explore options under ‘Edit’ on the task bar

delete/restore (line by line/highlighted sections - follow instructions)

marking eg click on 1 for ‘woman’, 2 for ‘women’, then click ‘Set’ on

concordance bar) (OR just resort Centre [see below])

=> lines should become sorted by number – ie all ‘woman’ lines

together, and all ‘women’ lines together

resort eg Main sort L1 (one word on the left of the search word),

Sort 2 R1 (one word on the right of the search word)



WORDSMITH – Practice exercises

Content – themes, collocations, focus …

(most) frequent content words other

In [Cambridge thematic] woman/women

[Oxford thematic] tree* (resort ‘Centre’ to show tree/trees)

(+ try different sorts)

Strasbourg’s artists text tableau/tableaux/peinture/peintures

sort 1 2 3 4 (resort>set order)




Form? => Syntactic features/ complexity – focus on beginnings of sentences

In [Cambridge thematic]

vs [Oxford thematic]

vs Strasbourg’s artists text

Frequency information length of sentences/standard deviation - possible differences?

=> concordance full stops search term - *.

=> clean concordance del lines where full stops do not mark sentence end/onset

=> mark concord. lines 1 main subject verb

2 adverbial phrase

3 dependent/subordinate clause

4 conjunction

5 other

=> Sort Under Edit>re-sort > click ‘set order’

=> Compare/discuss




[Cambridge thematic] full stops (110 lines after clean up) (?)

N Concordance Set Tag

1 . In doing so, we become aware of his painting urges us to look closer 3

2 . Although the woman has interrupted shared between mother and child 3

3 . By positioning the young woman to the vanities of the dressing table 3

4 . By framing her pert, upturned face with The girl’s impatience is almost palpable 3

5 . Although this motif could have many in the foreground is a discarded slipper 3

6 . Although the room is sparsely the painting’s melancholic mood 3

7 . According to seventeenth-century standing in the doorway on the right 3

8 . Typically, they forged a bond with the characters in literature and theatre 2

9 . On the surface they seem to embody iconic images of the Dutch ‘Golden Age’ 2

10 . Visible above the head of the seated us that the city is never far away 2

11 . Despite the heavy silence of this as if the women inhabit separate worlds 2

12 . Opposite the girl’s head, a set of keys interior and exterior of a palatial home 2

13 . Mysteriously, she manages to elude face—unexpectedly turned to the side 2

14 . On the rear wall is a painting of a to lead us to the innermost room 2

15 . On the floor in the foreground is a , a maid tends a pot on the open hearth 2


30 . Commendably, she has set aside her the chill of the marble tiled floor 2

31 . The painting’s warm tonality and inherent in mundane household chores 1

32 . Most show well-to-do women in a second half of the seventeenth century 1

33 . Tranquil, homely images like accurate reflections of everyday chores 1

34 . Muted, almost monochrome colours bed linens are ominously undisturbed 1

35 . The back wall of the room is pierced on the pile of mending by her side 1

36 . The simplicity of the composition the rest of the room cloaked in shadow 1




[oxford thematic]

full stops (272 lines after clean up) (?)

N Concordance Set

1 . When the drawing was finished, out of doors, reworked at a later date 3

2 . When she recognizes that he is the a man whom she takes for a gardener 3

3 . Having left no room to complete the pen and finished later with a thicker pen 3

4 . As the composition evolved, Claude later drawings and final painting (cat. 13) 3


15 . In this version, Claude abandoned the to the left than they do in the original 2

16 . About four years later, he composed a 1664 for Prince Lorenzo Onofrio Colonna 2

17 . In Claude’s time, the columns of the the church of Santa Maria in Cosmedin 2

18 . Several years later, Sarah but he had one son by Hagar, the maid 2

19 . In the valley below, Aaron tends the cloud in the midst of the “devouring fire” 2

20 . From the early 1630s, in order to who lived with him until his death in 1682 2

21 . In April 1625 he returned to his native with a German painter, Goffredo Wals 2


57 . St Joseph was originally drawn at a altered by the artist to face the angel 1

58 . Claude turned back to this drawing to the children of a court official 1

59 . The melancholy half-light, suffused Christ after he had risen from the dead 1

60 . It may have been made for a small, the drawing is also larger than the print 1

61 . The landscape in this drawing was not but then moved closer to the main group 1

62 . Christ now holds out his right hand as a pool of light encircled by dark shadows 1

63 . The ruled lines in red chalk, dividing include a fortified town in the backgound 1




STRASBOURG ARTISTS

TEXTS (175 LINES AFTER

CLEAN UP) (?)


1 . Poser un bleu cobalt pour le ciel et un un mur de briques et puis frotter, gratter 5

2 . Poser la toile sur un mur de briques et , mes yeux. Frottage… Evidemment 5

3 . Poser une main sur cette peau peinte. pour le ciel et un rose clair pour la chair 5

4 . Poser son autre main sur le modèle, . Poser une main sur cette peau peinte 5

5 . Poser son regard sur le motif, et pour- sur le modèle, pour lui montrer la pause 5

6 . Mais le choix de l’abstraction séparation que constituent les plombs 4

7 . Mais à l’absence aussi de Broodthaersl’écrivain rêvé par Mallarmé dans Igitur 4

8 . Que lis-je ? Deux jeunes filles nues ! , de lignes tirées, courbées, bri- sées 4

9 . Et n'usez de vos mains que pour les . Touchez avec les yeux, s'il vous plaît 4

10 . Mais le projet évolut et accorde la Nationale d’Administration (l’ENA) 4

11 . Ainsi Sisyphe illustre le devoir de apparaissant sur les tranches du rouleau 4

12 . Ainsi le bureau, qui fait partie d’un que Sophie Taeuber Arp crée en design 4

13 . Investissant le territoire des anciens du quartier historique de la Petite France 3

14 . « Que les peintres et les sculpteurs sa santé et son moral sont précaires 3

15 . Bien qu’entourée par le bruissement et elle régnait un feu aussi sévère que doux 3

16 . Que leur regard pénètre au-delà de la essaient de faire comme la nature 3

17 . Puisant aux sources de l’architecture parfaite sur laquelle se reflète le ciel 3

18 . Qu’il s’agisse d’objets de série ou de des Nouveaux Réalistes fondé en 1960 3

19 . Quand la couleur devient un plan, elle période sont d’une fraîcheur étonnante 3

20 . S’ils n’ont pas assez de leurs propres regard pénètre au-delà de la surface […] 3

21 . Lorsque Kandinsky peint ses petites effet d’immensité, de profondeur se crée 3

22 . En 1912, il est le premier à exposer au , Metzinger, Gleizes, Léger, Apollinaire 2

23 . A partir de 1911, Frantisek Kupka Création dans les arts plastiques, 1913 2


76 . De 1927 à 1930 sa santé et son moral gravés Quatre histoires de blanc et noir 2

77 . Ainsi, en 1943 : « Elle aimait la mer et nombreux hommages chargés d’amour 1

78 . Les jaunes, verts, bleus ainsi que les poursuivit ses réflexions sur la couleur 1

79 . Tout ce qui était reçu parmi ce ciel un ciel limpide empli de formes purifiées 1

80 . Cette oeuvre sera détruite à l'issue de et d'arts appliqués installée à Dessau 1

81 . Son oeuvre évolue vers une épuration et dirige un atelier de peinture murale 1

82 . Une peinture libre Figure verte, 1936 ». Réflexions sur l’art abstrait, 1931 1

83 . Composition abstraite désaxée se trouve parfois discrètement tempéré 1




Sentences onset

[Cambridge [Oxford STRASBOURG

thematic] thematic]

SV 80/110 (73%) 216/272 (79%) 99/175 (56%)

OTHER 30/110 (27%) 56/272 (21%) 76/175 (43%)

Adv P 23/110 (21%) 42/272 (16%) 55/175 (31%)

Dep. Clause 7/110 (6%) 14/272 (5%) 9/175 (5%)

Other 12/275 (7%)

Syntax French sentences? …. Spectatorial experience?... Implications translation? …

oxford wordsmith tools - wordpress.com · 2013. 8. 6. · 2 figure compositions , but pollock soon...

Documents