This paper presents a newly-compiled diachronic corpus of Australian English (AusBrown). With four sampling time points (1931, 1961, 1991 and 2006), Aus-Brown is designed to match the current suite of British and American ‘Brown-family’ corpora in both sampling year and design. We provide details of the composition and compilation of AusBrown, and explore the broader context of its ‘Brown-family background’ and of complementary Australian corpora. We also overview research based on the Australian corpora presented, including several AusBrown-based papers.
Peter Petré, Lynn Anthonissen, Sara Budts, Enrique Manjavacas, Emma-Louise Silva, William Standing and Odile A.O. Strik
The present article provides a detailed description of the corpus of Early Modern Multiloquent Authors (EMMA), as well as two small case studies that illustrate its benefits. As a large-scale specialized corpus, EMMA tries to strike the right balance between big data and sociolinguistic coverage. It comprises the writings of 50 carefully selected authors across five generations, mostly taken from the 17th-century London society. EMMA enables the study of language as both a social and cognitive phenomenon and allows us to explore the interaction between the individual and aggregate levels.
The first part of the article is a detailed description of EMMA’s first release as well as the sociolinguistic and methodological principles that underlie its design and compilation. We cover the conceptual decisions and practical implementations at various stages of the compilation process: from text-markup, encoding and data preprocessing to metadata enrichment and verification.
In the second part, we present two small case studies to illustrate how rich contextualization can guide the interpretation of quantitative corpus-linguistic findings. The first case study compares the past tense formation of strong verbs in writers without access to higher education to that of writers with an extensive training in Latin. The second case study relates s/th-variation in the language of a single writer, Margaret Cavendish, to major shifts in her personal life.
In this article we would like to examine an area of onomastics that has not received much scholarly attention. We aim to provide an adequate linguistic analysis of the place-names found in The Elder Scrolls (ES) video game series. For our analysis, we rely chiefly on the methods of linguistic statistics, which have not yet gained widespread use in onomastic research. Our goal is to give a boost to linguistic and onomastic research into video games and to develop related aspects of its research methodology. Two main methods of place-name formation can be observed in our results: one is when the fictional names are coined on the basis of the lexical elements of already existing non-fictional languages (we call these mimetic names), and the other is when the game developers create so-called speaking names. In our article we demonstrate that the toponyms of the ES universe in part conform to the conventions of non-fictional place-name formation (e.g. they can be sorted into the two main categories of habitative names and topographical names), and in part they contradict such conventions, because around 14 percent of the names we analyzed are purposefully coined as semantically obscure toponyms, which does not happen in the case of non-fictional names.
The language of Early Modern texts can potentially reveal a lot about Shakespeare’s language. In this paper I describe the creation of a genre classification scheme for a segment of Early English Books Online – Text Creation Partnership (EEBO-TCP), covering the period 1560–1640. This categorisation permits meaningful comparison of the language of Shakespeare with that of his contemporaries and makes an integral contribution to The Encyclopaedia of Shakespeare’s Language project at Lancaster University. I outline the rationale behind the scheme, describe preliminary automatic genre classification work and present the prototype approach adopted for this categorisation. I also provide specific examples of classification in practice and discuss internal and external factors which influenced genre selection. I finish by suggesting how a range of scholars might benefit from this research.
The Estonian child helpline service launched in 2009 uses a free nationwide 24h Child Helpline phone number. The purpose of the service is to enable everyone to report on children in need, forward the information to specialists and, if necessary, get primary social counselling and crisis counselling for children and other people. The service is provided in accordance with the Estonian Child Protection Act that prescribes that all citizens are required to immediately notify the social services, police or other assistanceproviding authorities about children in need of protection or assistance. This article is based on studies conducted between 2013 and 2015. In the course of the research, data were collected for increasing the effectiveness of the hotline’s communication campaigns. In addition to the general objective of the article, the data collected includes quantitative research mixed with qualitative data that helps to understand the factors that encourage and inhibit the use of the hotline service. The focus is on indicators that illustrate the effectiveness of the diffusion of innovation, and special attention is paid to the results that highlight risk, the existence of mental barriers and trust. Finally, the study analyses the weaknesses of past hotline campaigns and makes some suggestions for future.
The article argues that Wojtek Smarzowski’s film Rose (Róża, Poland, 2011) undermines the dominant bigendered logic of screen death and suffering in the Polish films depicting the experience of World War II. In these films, there is a significant absence of images of female suffering and death, which is striking when compared to the abundant images of wounded and dying male bodies, usually represented as a lavish visual spectacle. This unrepresented female death serves as a ‘structuring absence’ that governs the systematic signifying practices of Polish cinema. Most importantly, it expels the female experience of World War II from the realm of history to the realm of the mythical. This representational regime has been established in the Polish national cinema during the 1950s, especially in Andrzej Wajda’s films, and is still proving its longevity. As the author argues, Smarzowski’s Rose is perhaps the most significant attempt to undermine this gendered cinematic discourse.
Specifically, the essay explores the ways in which Smarzowski’s Rose departs from previous dominant modes of representation of the World War II experience in Polish cinema, especially its gendered aspect.1 Firstly, it examines how Rose abandons the generic conventions of both war film and historical drama and instead, utilises selected conventions of melodrama to open up the textual space in which to represent the female experience of historical events. Then the author looks more closely at this experience and discusses the film’s representation of the suffering female body to argue that it subverts the national narrative of the war experience that privileges male suffering. A close analysis of the relationship between sound and image in the scenes of bodily violence reveals how the film reclaims the female body from the abstract domain of national allegory and returns it to the realm of individual embodied experience. The article concludes that Rose presents the female body as resisting the singular ideological inscription, and instead, portrays it as simultaneously submitting to and resisting the gendered violence of war.