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Von A bis Å. (Fast) alles über die Frankfurter Skandinavistik. Ausgabe 3 ; Wintersemester 2021
(2021)
Von A bis Å. (Fast) alles über die Frankfurter Skandinavistik. Ausgabe 2 ; Sommersemester 2021
(2021)
This dissertation investigates several aspects of nominal modification in Ògè, an understudied language of Benue-congo spoken in Àkókó Northwest in Nigeria. The study focuses on two areas of nominal modification namely, Nominal Attributive Modifiers (NAMs) and the strategies of number marking.
The discussion and analysis of NAMs in the language reveal that Ògè belongs to the group of languages which lacks adjectives as a lexical category. NAMs are nominal and they
are derived from an existing lexical category namely, verbs. Predicative modifiers and NAMs have forms that are similar to the long and short forms (LF & SF) of adjectives in languages in which adjectives form an open class, for example, Russian, SerBoCroatian (BCS) and German.
Based on the Minimalist program, the dissertation reveals that unlike Russian, BCS, and German in which the discrepancies between the two forms of adjectives are related to definiteness (as in the case of BCS) and Agree, the discrepancies in the two forms of modifiers in Ògè are related to the fact that Ògè lacks adjectives and resorts into the nominalization of stative verbs in order to derive attributive forms. Using the analyses of adjuncts according to Truswell (2004) and Zeijlstra (2020), the dissertation proposes that NAMs are adjuncts in a modification structure while they are heads in possessive and genitive constructions. In addition, I propose that NAMs are attributive-only modifiers which modify the NP rather than
the DP.
The dissertation also investigates the strategies of number marking in Ògè. Unlike languages in which number marking is obligatory in the nominal domain (Hebrew, German, English),
nouns in Ògè are not always marked for number. This means that nouns in Ògè have general number. The general number nature of nouns in Ògè is like that of the nouns in modifying plural marking languages namely, Halkomelem, Korean, Yucatec Maya and Yorùbá. However, I argue that unlike the modifying plural marking languages in which the Number Phrase (NumP) is not projected, NumP is projected in the nominal spine of Ògè, claiming that NumP bears an
interpretable number feature which values the uninterpretable number feature in D. Argument in support of this comes from the interpretation of the noun in the presence of òtúro (an element which translates to the plural definite interpretation of the noun). I analyze òtúro as a plural determiner which occupies the D-head in the syntax of Ògè. The dissertation argues following Alexiadou (2019) that the locus of the occurrence of the marker of plurality in the nominal spine does not depend on its interpretation as a plural morpheme, rather, the locus of the occurrence of the element that is sensitive to the plural interpretation of the noun depends on other parameters which are definiteness, specificity and animacy.
Nature's non-material contributions to people are difficult to quantify and one aspect in particular, nature's contributions to communication (NCC), has so far been neglected. Recent advances in automated language processing tools enable us to quantify diversity patterns underlying the distribution of plant and animal taxon labels in creative literature, which we term BiL (biodiversity in literature). We assume BiL to provide a proxy for people's openness to nature's non-material contributions enhancing our understanding of NCC. We assembled a comprehensive list of 240,000 English biological taxon labels. We pre-processed and searched a subcorpus of digitised literature on Project Gutenberg for these labels. We quantified changes in biodiversity indices commonly used in ecological studies for 16,000 books, encompassing 4,000 authors, as proxies for BiL between 1705 and 1969. We observed hump-shape patterns for taxon label richness, abundance and Shannon diversity indicating a peak of BiL in the middle of the 19th century. This is also true for the ratio of biological to general lexical richness. The variation in label use between different sections within books, quantified as β-diversity, declined until the 1830s and recovered little, indicating a less specialised use of taxon labels over time. This pattern corroborates our hypothesis that before the onset of industrialisation BiL may have increased, reflecting several concomitant influences such as the general broadening of literary content, improved education and possibly an intensified awareness of the starting loss of biodiversity during the period of romanticism. Given that these positive trends continued and that we do not find support for alternative processes reducing BiL, such as language streamlining, we suggest that this pronounced trend reversal and subsequent decline of BiL over more than 100 years may be the consequence of humans’ increasing alienation from nature owing to major societal changes in the wake of industrialisation. We conclude that our computational approach of analysing literary communication using biodiversity indices has a high potential for understanding aspects of non-material contributions of biodiversity to people. Our approach can be applied to other corpora and would benefit from additional metadata on taxa, works and authors.
James Joyce's Ulysses is treated as one of the most influential, paradigmatic texts of high modernism. Novels like Thomas Pynchon’s 1973 Gravity’s Rainbow and David Foster Wallace’s 1996 Infinite Jest, which equally raise claims to being the paradigms of their respective time, are perpetually compared to and measured against Joyce’s epic novel. However, novels like Ulysses, Gravity’s Rainbow and Infinite Jest are usually either grouped together due to their length, complexity and importance, to examine direct allusions in the texts or analyse a rather general “style” or to conversely stress the novels’ singularity and autonomy. I argue that not only can Joyce’s Ulysses, Pynchon’s Gravity’s Rainbow and Wallace’s Infinite Jest be meaningfully put in relation to one another but that their singularity and paradigmatic status in 20th century literature should be understood through the relationality of a Ulyssean Tradition. Novels like Gravity’s Rainbow and Infinite Jest can be fruitfully read in a Ulyssean Tradition. Their singular, paradigmatic aesthetic projects emerge from a reciprocal dialogue with Ulysses in their self-inscription into a Ulyssean Tradition. The intertextual connection of this Ulyssean Tradition is integrally constitutive of the autonomy through which these novels claim the status of singular representations of their respective human condition and thus epic paradigms of a new way of writing the world. By positioning themselves in the literary field alongside Ulysses as the received paradigm of modernism, Wallace in Infinite Jest and Pynchon in Gravity’s Rainbow legitimize their own, independent project and their own claims to paradigmaticness. The Ulyssean Tradition thereby becomes not only a way of writing,a nd this study not merely a study of literary influence, but also a way of reading that can generate new, independent readings through the relationality of a Ulyssean Tradition
This thesis investigates the structure of research articles in the field of Computational Linguistics with the goal of establishing that a set of distinctive linguistic features is associated with each section type. The empirical results of the study are derived from the quantitative and qualitative evaluation of research articles from the ACL Anthology Corpus. More than 20,000 articles were analyzed for the purpose of retrieving the target section types and extracting the predefined set of linguistic features from them. Approximately 1,100 articles were found to contain all of the following five section types: abstract, introduction, related work, discussion, and conclusion. These were chosen for the purpose of comparing the frequency of occurrence of the linguistic features across the section types. Making use of frameworks for Natural Language Processing, the Stanford CoreNLP Module, and the Python library SpaCy, as well as scripts created by the author, the frequency scores of the features were retrieved and analyzed with state-of-the-art statistical techniques.
The results show that each section type possesses an individual profile of linguistic features which are associated with it more or less strongly. These section-feature associations are shown to be derivable from the hypothesized purpose of each section type.
Overall, the findings reported in this thesis provide insights into the writing strategies that authors employ so that the overall goal of the research paper is achieved.
The results of the thesis can find implementation in new state-of-the-art applications that assist academic writing and its evaluation in a way that provides the user with a more sophisticated, empirically based feedback on the relationship between linguistic mechanisms and text type. In addition, the potential of the identification of text-type specific linguistic characteristics (a text-feature mapping) can contribute to the development of more robust language-based models for disinformation detection.
The Greenlandic oral story-telling tradition, Oqaluttuaq, meaning “history,” “legend,” and “narrative,” is recognized as an important entry point into Arctic collective memory. The graphic artist Nuka K. Godtfredsen and his literary and scientific collaborators have used the term as the title of graphic narratives published from 2009 to 2018, and focused on four moments or ‘snippets’ from Greenland’s history (from the periods of Saqqaq, late Dorset, Norse settlement, and European colonization). Adopting a fragmentary and episodic approach to historical narrativization, the texts frame the modern European presence in Greenland as one of multiple migrations to and settlements in the Artic, rather than its central axis. We argue that, in consequence, the Oqaluttuaq narratives not only “provincialize” the tradition of hyperborean colonial memories, but also provide a postcolonial mnemonic construction of Greenland as a place of multiple histories, plural peoples, and heterogenous temporalities. As such, the books also narrativize loss and disappearance—of people, cultures, and environments-as a distinctive melancholic strand in Greenlandic history. Informed by approaches in the field of cultural memory and in the study memorial objects, Marks’ haptic visuality and Keenan and Weizman’s forensic aesthetics, we analyze the graphic narratives of Oqaluttuaq in regard to their aesthetic dimensions, as well as investigate the role of material objects and artifacts, which work as narrative “props” for multiple stories of encounter and survival in the Arctic.
The Greenlandic oral story-telling tradition, Oqaluttuaq, meaning “history,” “legend,” and “narrative,” is recognized as an important entry point into Arctic collective memory. The graphic artist Nuka K. Godtfredsen and his literary and scientific collaborators have used the term as the title of graphic narratives published from 2009 to 2018, and focused on four moments or ‘snippets’ from Greenland’s history (from the periods of Saqqaq, late Dorset, Norse settlement, and European colonization). Adopting a fragmentary and episodic approach to historical narrativization, the texts frame the modern European presence in Greenland as one of multiple migrations to and settlements in the Artic, rather than its central axis. We argue that, in consequence, the Oqaluttuaq narratives not only “provincialize” the tradition of hyperborean colonial memories, but also provide a postcolonial mnemonic construction of Greenland as a place of multiple histories, plural peoples, and heterogenous temporalities. As such, the books also narrativize loss and disappearance—of people, cultures, and environments—as a distinctive melancholic strand in Greenlandic history. Informed by approaches in the field of cultural memory and in the study memorial objects, Marks’ haptic visuality and Keenan and Weizman’s forensic aesthetics, we analyze the graphic narratives of Oqaluttuaq in regard to their aesthetic dimensions, as well as investigate the role of material objects and artifacts, which work as narrative “props” for multiple stories of encounter and survival in the Arctic.