Cognitive science Essay Example for Free

Cognitive science Essay Stylistics is the study and interpretation of texts from a linguistic perspective. As a discipline it links literary criticism and linguistics, but has no autonomous domain of its own. [1][2] The preferred object of stylistic studies is literature, but not exclusively high literature but also other forms of written texts such as text from the domains of advertising, pop culture, politics or religion. [3] Stylistics also attempts to establish principles capable of explaining the particular choices made by individuals and social groups in their use of language, such as socialisation, the production and reception of meaning, critical discourse analysis and literary criticism. Other features of stylistics include the use of dialogue, including regional accents and people’s dialects, descriptive language, the use of grammar, such as the active voice or passive voice, the distribution of sentence lengths, the use of particular language registers, etc. In addition, stylistics is a distinctive term that may be used to determine the connections between the form and effects within a particular variety of language. Therefore, stylistics looks at what is ‘going on’ within the language; what the linguistic associations are that the style of language reveals. * | Early twentieth century The analysis of literary style goes back to Classical rhetoric, but modern stylistics has its roots in Russian Formalism,[4] and the related Prague School, in the early twentieth century. In 1909, Charles Ballys Traite de stylistique francaise had proposed stylistics as a distinct academic discipline to complement Saussurean linguistics. For Bally, Saussures linguistics by itself couldnt fully describe the language of personal expression. [5] Ballys programme fitted well with the aims of the Prague School. [6] Building on the ideas of the Russian Formalists, the Prague School developed the concept of foregrounding, whereby poetic language stands out from the background of non-literary language by means of deviation (from the norms of everyday language) or parallelism. [7] According to the Prague School, the background language isnt fixed, and the relationship between poetic and everyday language is always shifting. [8] Late twentieth century Roman Jakobson had been an active member of the Russian Formalists and the Prague School, before emigrating to America in the 1940s. He brought together Russian Formalism and American New Criticism in his Closing Statement at a conference on stylistics at Indiana University in 1958. [9] Published as Linguistics and Poetics in 1960, Jakobsons lecture is often credited with being the first coherent formulation of stylistics, and his argument was that the study of poetic language should be a sub-branch of linguistics. [10] The poetic function was one of six general functions of language he described in the lecture. Michael Halliday is an important figure in the development of British stylistics. [11] His 1971 study Linguistic Function and Literary Style: An Inquiry into the Language of William Goldings The Inheritors is a key essay. [12] One of Hallidays contributions has been the use of the term register to explain the connections between language and its context. [13] For Halliday register is distinct from dialect. Dialect refers to the habitual language of a particular user in a specific geographical or social context. Register describes the choices made by the user,[14] choices which depend on three variables: field (what the participants are actually engaged in doing, for instance, discussing a specific subject or topic),[15] tenor (who is taking part in the exchange) and mode (the use to which the language is being put). Fowler comments that different fields produce different language, most obviously at the level of vocabulary (Fowler. 1996, 192) The linguist David Crystal points out that Halliday’s ‘tenor’ stands as a roughly equivalent term for ‘style’, which is a more specific alternative used by linguists to avoid ambiguity. (Crystal. 1985, 292) Halliday’s third category, mode, is what he refers to as the symbolic organisation of the situation. Downes recognises two distinct aspects within the category of mode and suggests that not only does it describe the relation to the medium: written, spoken, and so on, but also describes the genre of the text. (Downes. 1998, 316) Halliday refers to genre as pre-coded language, language that has not simply been used before, but that predetermines the selection of textual meanings. The linguist William Downes makes the point that the principal characteristic of register, no matter how peculiar or diverse, is that it is obvious and immediately recognisable. (Downes. 1998, 309) Literary stylistics In The Cambridge Encyclopedia of Language, Crystal observes that, in practice, most stylistic analysis has attempted to deal with the complex and ‘valued’ language within literature, i. e.  Ã¢â‚¬Ëœliterary stylistics’. He goes on to say that in such examination the scope is sometimes narrowed to concentrate on the more striking features of literary language, for instance, its ‘deviant’ and abnormal features, rather than the broader structures that are found in whole texts or discourses. For example, the compact language of poetry is more likely to reveal the secrets of its construction to the stylistician than is the language of plays and novels. (Crystal. 1987, 71). Poetry As well as conventional styles of language there are the unconventional – the most obvious of which is poetry. In Practical Stylistics, HG Widdowson examines the traditional form of the epitaph, as found on headstones in a cemetery. For example: His memory is dear today As in the hour he passed away. (Ernest C. Draper ‘Ern’. Died 4. 1. 38) (Widdowson. 1992, 6) Widdowson makes the point that such sentiments are usually not very interesting and suggests that they may even be dismissed as ‘crude verbal carvings’ and crude verbal disturbance (Widdowson, 3). Nevertheless, Widdowson recognises that they are a very real attempt to convey feelings of human loss and preserve affectionate recollections of a beloved friend or family member. However, what may be seen as poetic in this language is not so much in the formulaic phraseology but in where it appears. The verse may be given undue reverence precisely because of the sombre situation in which it is placed. Widdowson suggests that, unlike words set in stone in a graveyard, poetry is unorthodox language that vibrates with inter-textual implications. (Widdowson. 1992, 4) Two problems with a stylistic analysis of poetry are noted by PM Wetherill in Literary Text: An Examination of Critical Methods. The first is that there may be an over-preoccupation with one particular feature that may well minimise the significance of others that are equally important. (Wetherill. 1974, 133) The second is that any attempt to see a text as simply a collection of stylistic elements will tend to ignore other ways whereby meaning is produced. (Wetherill. 1974, 133) Implicature In ‘Poetic Effects’ from Literary Pragmatics, the linguist Adrian Pilkington analyses the idea of ‘implicature’, as instigated in the previous work of Dan Sperber and Deirdre Wilson. Implicature may be divided into two categories: ‘strong’ and ‘weak’ implicature, yet between the two extremes there are a variety of other alternatives. The strongest implicature is what is emphatically implied by the speaker or writer, while weaker implicatures are the wider possibilities of meaning that the hearer or reader may conclude. Pilkington’s ‘poetic effects’, as he terms the concept, are those that achieve most relevance through a wide array of weak implicatures and not those meanings that are simply ‘read in’ by the hearer or reader. Yet the distinguishing instant at which weak implicatures and the hearer or reader’s conjecture of meaning diverge remains highly subjective. As Pilkington says: ‘there is no clear cut-off point between assumptions which the speaker certainly endorses and assumptions derived purely on the hearer’s responsibility. ’ (Pilkington. 1991, 53) In addition, the stylistic qualities of poetry can be seen as an accompaniment to Pilkington’s poetic effects in understanding a poems meaning. Stylistics is a valuable if long-winded approach to criticism, and compels attention to the poems details. Two of the three simple exercises performed here show that the poem is deficient in structure, and needs to be radically recast. The third sheds light on its content. Introduction Stylistics applies linguistics to literature in the hope of arriving at analyses which are more broadly based, rigorous and objective. {1} The pioneers were the Prague and Russian schools, but their approaches have been appropriated and extended in recent years by radical theory. Stylistics can be evaluative (i. e.judge the literary worth on stylistic criteria), but more commonly attempts to simply analyze and describe the workings of texts which have already been selected as noteworthy on other grounds. Analyses can appear objective, detailed and technical, even requiring computer assistance, but some caution is needed. Linguistics is currently a battlefield of contending theories, with no settlement in sight. Many critics have no formal training in linguistics, or even proper reading, and are apt to build on theories (commonly those of Saussure or Jacobson) that are inappropriate and/or no longer accepted. Some of the commonest terms, e. g. deep structure, foregrounding, have little or no experimental support. {2} Linguistics has rather different objectives, moreover: to study languages in their entirety and generality, not their use in art forms. Stylistic excellence — intelligence, originality, density and variety of verbal devices — play their part in literature, but aesthetics has long recognized that other aspects are equally important: fidelity to experience, emotional shaping, significant content. Stylistics may well be popular because it regards literature as simply part of language and therefore (neglecting the aesthetic dimension) without a privileged status, which allows the literary canon to be replaced by one more politically or sociologically acceptable. {3} Why then employ stylistics at all? Because form is important in poetry, and stylistics has the largest armoury of analytical weapons. Moreover, stylistics need not be reductive and simplistic. There is no need to embrace Jacobsons theory that poetry is characterized by the projection of the paradigmatic axis onto the syntagmatic one. {4} Nor accept Bradfords theory of a double spiral: {5} literature has too richly varied a history to be fitted into such a straitjacket. Stylistics suggests why certain devices are effective, but does not offer recipes, any more than theories of musical harmony explains away the gifts of individual composers. Some stylistic analysis is to be found in most types of literary criticism, and differences between the traditional, New Criticism and Stylistics approaches are often matters of emphasis. Style is a term of approbation in everyday use (that woman has style, etc.), and may be so for traditional and New Criticism. But where the first would judge a poem by reference to typical work of the period (Jacobean, Romantic, Modernist, etc. ), or according to genre, the New Criticism would probably simply note the conventions, explain what was unclear to a modern audience, and then pass on to a detailed analysis in terms of verbal density, complexity, ambiguity, etc. To the Stylistic critic, however, style means simply how something is expressed, which can be studied in all language, aesthetic and non-aesthetic. {6} Stylistics is a  very technical subject, which hardly makes for engrossing, or indeed uncontentious, {7} reading. The treatment here is very simple: just the bare bones, with some references cited. Under various categories the poem is analyzed in a dry manner, the more salient indications noted, and some recommendations made in Conclusions. Published Examples of Stylistic Literary Criticism G. N. Leechs A Linguistic Guide to English Poetry (1969) Laura Browns Alexander Pope (1985) Roy Lewiss On Reading French Verse: A Study in Poetic Form (1982) George Wrights Shakespeares Metrical Art. (1988) Richard Bradfords A Linguistic History of English Poetry (1993) Poem The Architects But, as youd expect, they are very Impatient, the buildings, having much in them Of the heavy surf of the North Sea, flurrying The grit, lifting the pebbles, flinging them With a hoarse roar against the aggregate They are composed of — the cliffs higher of course, More burdensome, underwritten as It were with past days overcast And glinting, obdurate, part of the Silicate of tough lives, distant and intricate As the whirring bureaucrats let in And settled with coffee in the concrete pallets, Awaiting the post and the department meeting — Except that these do not know it, at least do not Seem to, being busy, generally. So perhaps it is only on those cloudless, almost Vacuumed afternoons with tier upon tier Of concrete like rib-bones packed above them, And they light-headed with the blue airiness Spinning around, and muzzy, a neuralgia Calling at random like frail relations, a phone Ringing in a distant office they cannot get to, That they become attentive, or we do — these Divisions persisting, indeed what we talk about, We, constructing these webs of buildings which, Caulked like great whales about us, are always. Aware that some trick of the light or weather Will dress them as friends, pleading and flailing — And fill with placid but unbearable melodies Us in deep hinterlands of incurved glass.  © C. John Holcombe 1997 Metre Though apparently iambic, with five stresses to the line, the metre shows many reversals and substitutions. Put at its simplest, with: / representing a strong stress \ representing a weak stress x representing no stress, and trying to fit lines into a pentameters, we have -| /| x| x| x| /| -| \| x| /| x| | But| as| youd| ex| pect| | they| are| ve| ry| x| /| x| x| /| x| /| x| \| x| x| Im| pat| ient| the| build| ings,| hav| ing| much| in| them| x| x| \| x| /| x| x| \| /| /| x x| Of| the| heav| y| surf| of| the| North| Sea,| flurr| ying| x| /| -| /| x| x| /| x| /| x| \| The| grit,| | lift| ing| the| pebbl| es,| fling| ing| them| \| x| /| -| /| x| \| x| /| x| \| With| a| hoarse| | roar| a| gainst| the| agg| re| gate| x| \| x| /| \| x| /| /| x| x| /| They| are| com| posed| of,| the| cliffs| high| er| of| course| \| /| x| \| -| /| x| / | x| \| | More| burd| en| some,| | un| der| writ| ten| as| | x| /| x| /| -| /| -| /| x| /| | It| were| with| past| | days| | o| ver| cast| | x| /| x| \| /| x| \| -| /| x| x| And | glit| ter| ing,| ob| du| rate,| | part| of| the| -| /| x x x| /| -| /| -| /| x x| /| x x| | Sil| icate of| tough| | lives| | dist| ant and| in| tricate| -| \| x| /| x| /| x| \| -| /| x| | As| the| whir| ring| bu| reau| crats| | let| in| x| /| x x| /| x| \| x| /| x| /| x| And | set| tled with| cof| fee| in| the| con| crete| pal| lets| x| /| x x| /| x| \| x| /| x| /| x| A| wait| ing the| post| and| the| de| part| ment| meet| ing| x| \| x| /| \ x | /| x| x| \| /| x| Ex| cept| that| these| do not| know| it, | at| least| do| not| -| /| x| /| x| /| x| /| x| \| x| | Seem| to| be| ing| bus| y| gen| ER| all| y| \| x| /| x x| /| x| \| x| /| x| /| x| So| per| haps| it is| on| ly| on| those| cloud| less| al| most| -| /| x| /| x| \| x| /| x x| \| /| x| | Vac| uumed| af| ter| noons| with| ti| ER u| pon| ti| ER| x| /| x| \| /| /| -| /| x| /| x| | Of| con| Crete| like| rib| bones| | packed| a| bove| them| | x| /| \| /| x| \| x| /| /| x| \| | And | they| light| head| ed,| with| the| blue| air| i| ness| | -| /| x x| /| x| /| x| \| x| /| x x| | | Spin| ning a| round| and| muz| zy,| a| neu| ral| gia| | -| /| x x| /| x x| /| x| /| x x| /| | | Cal| ling at| ran| dom like| frail| re| lat| ions a| phone| | -| /| x x x| /| x| /| x x| /| x| /| x| | Ring| ing in a| dist| ant| of| fice they| can| not| get| to| x| /| x| /| x| /| x x| /| /-| \| | That| they| be| come| at| ten| tive, or| we| do| these| | x| /| x x| /| x x| /| \| x| /| x| /| Di| vis| ions per| sist| ing, in| deed| what| we| talk| a| bout| -| /| x| /| x x| /| x| /| x| \| | | We,| con| struct| ing these| webs| of| build| ings| which| | -| /| x| /| \| /| x| /| x x| /| x| | Caulk| Ed | like| great| whales| a| bout| us are| al| ways| x| /| x x| /| x x| /| x| /| x| | | A| ware| that some| trick| of the| light| or| weath| ER| | | \| /| x x| /| -| /| x x| /| x| | | Will| dress| them as| friends| | plead| ing and| flail| ing| | | x| /| x| /| x| \| x| /| x x| /| x x| And| fill| with| plac| id| but | UN| bear| able | mel| odies| -| /| x| \| -| /| x x x| /| \| /| | | Us | in| deep| | hint| erlands of| in| curved| glass| | Poets learn to trust their senses, but even to the experienced writer these (tedious) exercises can pinpoint what the ear suspects is faulty, suggest where improvements lie, and show how the metre is making for variety, broad consistency, shaping of the argument and emotive appeal. Though other scansions are certainly possible in the lines above, the most striking feature will remain their irregularity. Many lines can only roughly be called pentameters; Lines 16 and 17 are strictly hexameters; and lines 27 and 28 are tetrameters. In fact, the lines do not read like blank verse. The rhythm is not iambic in many areas, but trochaic, and indeed insistently dactylic in lines 9 and 10, 21 and 22 and 28. Line 27 is predominantly anapaestic, and line 3 could (just) be scanned: x x| / x| /| x x \| /| | /| x x | Of the| heavy| surf| of the North| Sea| | flurr| ying| Reflective or meditative verse is generally written in the iambic pentameter, and for good reason — the benefit of past examples, readers expectations, and because the iambic is the closest to everyday speech: flexible, unemphatic, expressing a wide range of social registers. Blank verse for the stage may be very irregular but this, predominantly, is a quiet poem, with the falling rhythms inducing a mood of reflection if not melancholy. What is being attempted? Suppose we set out the argument (refer to rhetorical and other analyses), tabbing and reverse tabbing as the reflections as they seem more or less private: {8} 1. But, as youd expect, 2. they are very impatient, the buildings, 3. having much in them of the heavy surf of the North Sea, 4. flurrying the grit, 5. lifting the pebbles, 6. flinging them with a hoarse roar against the aggregate they are composed of — the 7. cliffs higher of course, more 8. burdensome, 9. underwritten as it were with past days 10. overcast and glinting, 11. obdurate, 12. part of the silicate of tough lives, 13. distant and intricate as 14. the whirring bureaucrats 15. let in and settled with coffee in the concrete pallets, awaiting the post and the department meeting — 16. except that these do not know it, 17. at least do not seem to, being busy, 18. generally. 19. So perhaps it is only on those cloudless, almost vacuumed afternoons with tier upon tier of concrete like rib — bones packed above them, and 20. they light-headed 21. with the blue airiness spinning around, and 22. muzzy, a 23. neuralgia calling at random like 24. frail relations, a 25. phone ringing in a distant office they cannot get to, that 26. They become attentive, 27. or we do — 28. these divisions persisting, 29. indeed what we talk about, 30. we, constructing these webs of buildings which 31. caulked like great whales about us, are 32. always aware that some trick of the light or weather will dress them as friends, 33. pleading and flailing — and 34. fill with placid but unbearable melodies 35. us in deep hinterlands of incurved glass. The structure should now be clear. Where Eliot created new forms by stringing together unremarkable pentameters, {8} this poem attempts the reverse: to recast an irregular ode-like structure as pentameters. And not over-successfully: many of the rhythms seemed unduly confined. But once returned to the form of an eighteenth century Pindaric ode, however unfashionable today, the lines regain a structure and integrity. Each starts with a marked stress and then tails away, a feature emphasized by the sound patterns. {9} Sound Patterning To these sound patterns we now turn, adapting the International Phonetic Alphabet to HTML restrictions: 1. But | as | youd | expect | u | a | U | e e | b t | z | y d | ksp kt | 2. They | are | very | impatient | the | buildings | A | a(r) | e E | i A e | e | i i | th | | v r | mp sh nt | th | b ld ngz | 3. Having | much | in | them | of | the | heavy | surf | of | the | North | Sea | a i | u | i | e | o | e | e | e(r) | o | e | aw | E | h v ng | m ch | n | th m | v | th | h v | s f | v | th | n th | s | 4. flurrying | the | grit | u E i | e | i | fl r ng | th | gr t | 5. lifting | the | pebbles | i i | e | e | l ft ng | th | p b lz | 6. flinging | them | with | a | hoarse | roar | against | the | aggregate | they | are | composed | of | i i | e | i | e | aw | aw | e A | e | a E A | A | a(r) | o O | o | fl ng ng | th m | w th | | h s | r | g nst | th | gr g t | th | | k MP zd | v | 7. the | cliffs | higher | of | course | more | e | i | I e | o | aw | aw | th | kl fs | h | v | s | m | 8. burdensome | u(r) e e | b d ns m | 9. underwritten | as | it | were | with | past | days | u e i e | a | i | (e)r | i | a(r) | A | nd r t n | z | t | w | w | p st | d z | 10. overcast | and | glinting | O e(r) a(r) | a | i i | v k St | nd | gl NT ng | 11. obdurate | o U A | bd r t | 12. part | of | the | silicate | of | tough | lives | (a)r | o | e | i i A | o | u | I | p t | f | th | s l k t | v | t f | l vz | 13. distant | and | intricate | i a | a | i i e | d St NT | nd | NT r k t | 14. as | the | whirring | bureaucrats | a | e | e(r) i | U O a | z | th | w r ng | b r kr ts | 15. let | in | and | settled | with | coffee | in | the | concrete | pallets | e | i | a | e ie | i | o E | i | e | o E | a e | l t | n | nd | s tl d | w th | k f | n | th | k Kr t | p l Ts | awaiting | the | post | and | the | department | meeting | e A i | e | O | a | e | E e | E i | w t ng | th | p St | nd | th | d p tm NT | m t ng | 16. except | that | these | do | not | know | it | e e | a | E | U | o | O | i | ks pt | th | th z | d | n t | n | t | 17. at | least | do | not | seem | to | being | busy | a | E | U | o | E | U | E i | i E | t | l St | d | n t | s m | t | b ng | b z /td | 18.generally | e e a E | j nr l | 19. so | perhaps | it | is | only | on | those | cloudless | almost | vacuumed | afternoons | O | e(r) a | i | i | O | o | O | ou e | aw O | a U | a(r) e oo | s | p h ps | t | z | nl | n | th z | kl dl s | lm St | v k md | ft n nz | with | tier | upon | tier | of | concrete | like | rib | bones | packed | above | them | and | i | E e(r) | e o | E e(r) | o | o E | I | i | O | a | e u | e | a | w th | t | p n | t | v | k nkr t | l k | r b | b nz | p Kt | b v | th m | nd | 20. they | light | headed | A | I | e e | th | l t | h d d | 21. with | the | blue | airiness | spinning | around | and | i | e | U | (A)r i e | i i | e ou | a | w th | th | bl | r n s | sp n ng | r nd | nd | 22. muzzy | a | u E | e | m z | | 23. neuralgia | calling | at | random | like | U a E a | aw i | a | a o | I | n r lj | k l ng | t | r nd m | l k | 24. frail | relations | a | A | e A e | e | fr l | r l zh nz | | 25. phone | ringing | in | a | distant | office | they | cannot | get | to | that | O | i i | i | e | i a | o i | A | a o | e | oo | a | | f n | r ng ng | n | | d St NT | f s | th | k n t | g t | t | th | | 26. they | become | attentive | A | E u | a e i | th | b k m | t NT v | 27. or | we | do | aw | E | oo | | w | d | 28. these | divisions | persisting | E | i i e | e(r) i i | th z | d v zh nz | p s St ng | 29. indeed | what | we | talk | about | i E | o | E | aw | e ou | in d | wh t | w | t k | b t | 30. we | constructing | these | webs | of | buildings | which | E | o u i | E | e | o | i i | i | w | k nz str Kt ng | th z | w bs | v | b ld ngz | wh Ch | 31. caulked | like | great | whales | about | us | are | aw | I | A | A | e ou | u | a(r) | k kd | l k | gr t | w lz | b t | s | | 32. always | aware | that | some | trick | of | the | light | or | weather | will | dress | them | as | friends | aw A | e (A)r | a | u | i | o | e | I | aw | e e(r) | i | e | e | a | e | lw z | w | th t | s m | tr k | v | th | l t | | w th | w l | dr s | th m | z | Fr ndz | 33. pleading | and | flailing | E i | a | A i | pl d ng | nd | fl l ng | 34. will | fill | with | placid | but | unbearable | melodies | i | i | i | a i | u | u A(r) a e | e O E | f l | w th | PL s d | b t | n b r b l | m l d z | | 35. us | in | deep | hinterlands | of | incurved | glass | u | i | E | i e a | o | i e(r) | a(r) | s | n | d p | h NT l ndz | v | nk v d | GL s | Sound in poetry is an immensely complicated and contentious subject. Of the seventeen different employments listed by Masson {10} we consider seven: 1. Structural emphasis All sections are structurally emphasized to some extent, but note the use (in decreasing hardness) of * plosive consonants in sections 1, 5, 6, 7, 10-13, 19, 28-50; 31 and 35. * fricative and aspirate consonants in sections 2, 3, 6, 7, 12, 19, 25, 28, 32, 35. * liquid and nasal consonants in sections 3, 4, 12, 15, 17, 18, 19, 21, 23, 31-35. Also: * predominance of front vowels — in all sections but 6, 7, 11, 16, 17, 19 and 31. * predominance of vowels in intermediate positions — only sections 16 and 17 having several high vowels and section 3 low vowels. 2. Tagging of sections Note sections 1, 7, 13 and 15. 3. Indirect support of argument by related echoes * Widely used, most obviously in sections 3-7, 12-13, and 15. 4. Illustrative mime: mouth movements apes expression * Sections 2, 6, 11-13, 19, 31 and 35. 5. Illustrative painting * Sections 3-6, 10-13, 15, 19 and 33. Most sections are closely patterned in consonants. Those which arent (and therefore need attention if consistency is to be maintained) are perhaps 8, 9, 14, 18, 20, 22, 24, 26 and 27. Originally the poem was cast in the form of irregular pentameters. But if this is set aside in favour of the 35 sections listed above, how are these sections to be linked in a self-evident and pleasing form? A little is accomplished by alliteration: * f in sections 3 to 7. * s and t in sections 12 to 15 * w in sections 29 to 32 And also by the predominance of front and intermediate level vowels, but these do not amount to much. Certainly we do not find that the overall shaping of the poem emphasizes the argument or content. Sociolinguistics Language is not a neutral medium but comes with the contexts, ideologies and social intentions of its speakers written in. Words are living entities, things which are constantly being employed and only half taken over: carrying opinions, assertions, beliefs, information, emotions and intentions of others, which we partially accept and modify. In this sense speech is dialogic, has an internal polemic, and Bakhtins insights into the multi-layered nature of language (heteroglossia) can be extended to poetry. {11} Much of Postmodernist writing tries to be very unliterary, incorporating the raw material of everyday speech and writing into its creations. This poem seems rather different, a somewhat remote tone and elevated diction applying throughout. Let us see whats achieved by grouping under the various inflections of the speaking voice. * urgently confidential But, as youd expect, cliffs higher, of course, that they become attentive or we do * obsessively repetitious flurrying the grit, lifting the pebbles, flinging them burdensome, underwritten overcast and glinting, obdurate * over-clever silicate of tough lives  distant and intricate constructing these webs of buildings distracted and/or light-headed except that these do not know it at least do not seem to with the blue airiness spinning around calling at random like frail relations * melancholic and/or reflective some trick of the light or weather will dress them as friends pleading and flailing and fill with placid but unbearable melodies. The exercise hardly provides revelation. Heteroglossia is an interweaving of voices, moreover, not shifts of tone or reference. And yet there is something very odd about the opening line. Why should we expect the buildings to be very impatient? This is more than the orators trick of attracting attention, since the animate nature of buildings and their constituents is referred to throughout the poem. To be more exact, the attitude of the inhabitants — observers, bureaucrats, architects — to the buildings is developed by the poem, and is paralleled by the tone. But why the confidential and repetitious attitude at the beginning. Why should we be buttonholed in this manner? Why the But, which seems to point to an earlier conversation, and the urgency with which that earlier conversation is being refuted or covered up? Because the blame for something is being shifted to the buildings. What error has been committed we do not know, but in mitigation we are shown the effect of the buildings on other inhabitants. Or perhaps we are. In fact the whirring bureaucrats seem to grow out of the fabric of buildings, and we do not really know if the we, constructing these webs of buildings is meant literally or metaphorically. The poems title suggests literally, but perhaps these constructions are only of the mind: sections 17, 20-29, 32 and 34 refer to attitudes rather than actions, and there is an ethereal or otherworldly atmosphere to the later section of the poem. So we return to heteroglossia, which is not simply borrowed voices, but involves an internal polemic, {12} that private dialogue we conduct between our private thoughts and their acceptable public expression. The dialogue is surely here between the brute physicality of a nature made overpoweringly real and the fail brevity of human lives. That physicality is threatening and unnerving. If the we of the later section of the poem is indeed architects then that physicality is harnessed to practical ends. If the constructing is purely mental then the treatment is through attitudes, mindsets, philosophies. But in neither case does it emasculate the energy of the physical world. Architects may leave monuments behind them, but they are also imprisoned in those monuments (us in deep hinterlands) and hearing all the time the homesick voice of their constituents. Conclusions: Suggested Improvements The greatest difficulty lies in the poems structure. An pentameter form has been used to give a superficial unity, but this wrenches the rhythm, obscures the sound patterns and does nothing for the argument. If recast in sections defined by rhythm and sound pattern the form is too irregular to have artistic autonomy. A return could be made to the eighteenth century Pindaric ode in strict metre and rhyme, but would require extensive and skilful rewriting, and probably appear artificial. A prose poem might be the answer, but the rhythms would need to be more fluid and subtly syncopated. Otherwise, blank verse should be attempted, and the metre adjusted accordingly. The internal polemic is a valuable dimension of the poem, but more could be done to make the voices distinct. http://www. textetc. com/criticism/stylistics. html1. On StylisticsIs cognitive stylistics the future of stylistics? To answer this question in the essay that follows, I will briefly discuss Elena Semino and Jonathan Culpeper’s Cognitive Stylistics (2003), Paul Simpson’s Stylistics (2004), and a recent essay by Michael Burke (2005). However, because questions are like trains – one may hide another – any discussion of the future of stylistics raises intractable questions about stylistics itself. French students of stylistics, for example, will come across definitions of the discipline like the following. According to Brigitte Buffard-Moret, â€Å"si les definitions de [la stylistique] – que certains refusent de considerer comme une scien

Media Should Respect Privacy of Public Figures Essay -- Argumentative

The Media Should Respect Privacy of Public Figures    How much privacy of the individual is protected under the United States Constitution? Every one is entitled to the right of privacy, but to what extent is that privacy granted? Public figures are constantly being harassed and photographed by the media. Some photographers and reporters will go to any means, even illegal actions, to get a picture or story. However, public figures are human beings like everyone else, and the media should give them more privacy. The media needs to operate with more respect for both laws and for moral and ethical codes of conduct. There are laws establishing the privacy of an individual, and the media needs to extend these rights to public figures. Are public officials entitled to private lives? The answer, up until two generations ago was a clear yes (Knowlton, 51). President Franklin D. Roosevelt used a wheel chair or braces, but that disability was rarely mentioned and almost never photographed. Many previous presidents were unfaithful to their wives, but the media did not cover these affairs that were common knowledge to the press corps (Knowlton, 51). However, the extramarital affairs of President Clinton are being widely covered by the media. The ethical code of conduct has fallen apart, and the media has new views on the amount of privacy that should be extended to public figures. According to Steven Knowlton, author of Moral Reasoning for Journalists, "Celebrities of all sorts-musicians, athletes, entertainers, and others-make their living from the public and the public therefore in a sense employs them, just as it employs governors and presidents..."(54). Most journalists figure that celebrities voluntarily surrender their pr... ...ion in a home or other private place. Even though these are not currently illegal actions, the media should act as if they were. Like other people, public figures should be able to separate their job from their family and personal lives. When public figures are spending time with their families, they should not be harassed by the media; intrusions on the privacy of celebrities are intrusions on the privacy of everyone. Works Cited Claffey, Mike and Tumposky, Ellen. "Sadness, Anger Toward Photographers Follows Diana's Death. Witchita Eagle. 31 August 1997. Dill, Barbara. The Journalist's Handbook on Libel and Privacy. New York. 1986. Knowlton, Steven R. Moral Reasoning for Journalists. Connecticut. 1997. Smolla, Rodney A. Suing the Press. New York. 1986. Sunstein, Cass R. "Reinforce the Walls of Privacy." The New York Times. 6 September 1997.

Detection Step

Detection step:gh4h This step speaks about the detection design pattern in structural method or approach.Speake about the roles that important to define a pattern The specific relationship that used to detect the pattern. The high tolerance in detection to archive the high recall because the high precision will archive using ML step How extract and calculate the metrices for roles detected for that two patterns have similar structure. How decide the feature have appear in dataset depends of feature selection stepGive this dataset as input for classifier model created by learning step. The output will be classified roles for which pattern belongs.Specific things that recall less than 70% accuracy will taken as FP. Detection step (speak about detection the DP and their roles using highly tolerance design pattern detection approaches based in structure of design pattern and enhancing DPD tool to get all possible result might be DP. Extract selected metrics for this roles and give it to trained model to apply classification.Make comparing and performance and validation for models (FS vs notFS) (OP vs Not OP) (ensemble vs not for SVM, Ann, deep)? The comparative measure accuracy †¦. · Experiment and the result (I will use two pattern adapter and command to classification similar roles between those patterns , the accuracy will be model result accuracy and comparing the result with benchmark and previous studiesDetection step. The detection phase is divided into two steps: the structural detection design pattern roles step and roles distinguish step. The input in the first step will be the source code that we want to detect design pattern from, and the output is design pattern candidate roles, while the aim of our study distinguishes between patterns have a similarity of structural aspect the similar roles between two patterns will come out with the same name, the second step input is the candidate roles that are out of the first step and will be entered as input into learned classifier to classify roles according to which design pattern belongs. First step: structural detection Design pattern candidate is a group of classes, each class represents a role in design pattern and these classes connected together with a relationship according to the particular structure of design pattern. The similarities in design patterns occur due to the similarity of the structure of the corresponding patterns (the object-oriented relationship between these classes is same). This similarity leads to the problem of distinguishing between roles in similar structure design pattern that mean every role are corresponding to a role in another design pattern. Though identical in structure, the patterns are completely different in purpose In this step, the input will be the source code, and the output is a data-set that contains design pattern candidate roles associated with class metrics, as shown in figure?. To detect design pattern, we adjusted Tsantalis et al. work to produce similar roles in similar structural design patterns.for example, in state and strategy design patterns, there are two roles that influence the confusion of patterns (Strategy and State, Strategy_Context and State_Context ), the identical roles detected in this step will be under the same label(Strategy /State, Context). We have adapted a Tsantalis et al. approach to detect candidate by extending the definition of a design pattern roles to identify a set of design pattern roles with more tolerance regardless of the false positive and false negative results are permissible in this step that will be covered in next step using learned classifier model. next, software metrics for each design pattern roles produced are calculated and based on the feature selection step in learning phase meticas were selected to present them as features in a dataset, then the dataset normalized to prepare for next step. Second step: distinguishes between patterns have a similarity of structural.In this step, each design pattern role produced in the previous step is given to each design pattern classifier learned in the learning phase in order to determine which design pattern the design pattern role belong to, that the classifier is expert on. each similar structural design pattern roles are classified by a separate classifier with different subsets of features selected by feature selection method to best represent each one of them. Then, each classifier states its opinion with a confidence value. Finally, if the confidence value of the candidate combination of classes is located in the con- fidence range of that design pattern, then, the combination is a design pattern, otherwise it is not.4.——————————A. Chihada et al.Design pattern detection phase The input of this phase is a given source code and the output is design pattern instances existing in the given source code. To per-form this phase, the proposed method uses the classifiers learned in the previous phase to detect what groups of classes of the given source code are design pattern instances. This phase is divided into two steps, preprocessing and detection.3.2.1. Preprocessing In this section, we try to partition a given system source code into suitable chunks as candidate design pattern instances. Tsanalis et al. [7] presented a method for partitioning a given source code based on inheritance hierarchies, so each partition has at most one or two inheritance hierarchy. This method has a problem when some design pattern instances involving characteristics that extend beyond the subsystem boundaries (such as chains of delegations) cannot be detected. Furthermore, in a number of design patterns, some roles might be taken by classes that do not belong to any inheritance hierarchy (e.g., Context role in the State/Strategy design patterns [1]). In order to improve the limitations of the method presented in[7], we propose a new procedure that candidates each combination of b classes as a design pattern instance, where b is the number of roles of the desired design pattern. Algorithm 1 gives the pseudocode for the proposed preprocessing procedure. Algorithm 1.   The proposed preprocessing procedureInput: Source code class diagrams Output: Candidate design pattern instances1. Transform given source code class diagrams to a graph G2. Enrich G by adding new edges representing parent's relationships to children according to class diagrams3. Search all connected subgraphs with b number of vertices from G as candidate design pattern instances4. Filter candidate design pattern instances that haven't any abstract classes or interfaces 3.2.2. Design pattern detectionIn this step, each candidate combination of classes produced in the preprocessing step is given to each design pattern classifier learned in Phase I of the proposed method in order to identify whether the candidate combination of classes is related to the design pattern that the classifier is expert on. Then, each classifier states its opinion with a confidence value. Finally, if the confidence value of the candidate combination of classes is located in the confidence range of that design pattern, then, the combination is a design pattern, otherwise it is not.Phase One (Intra-Class Level)The primary goal of phase one is to reduce the searchspace by identifying a set of candidate classes for every rolein each DP, or in other words, removing all classes that aredefinitely not playing a particular role. By doing so, phase oneshould also improve the accuracy of the overall recognitionsystem. However, these goals or benefits are highly dependenton how effective and accurate it is. Although some falsepositives are permissible in this phase, its benefits can becompromised if too many candidate classes are passed to phasetwo (e.g. _ 50% of the number of classes in the softwareunder analysis). On the other hand, if some true candidateclasses are misclassified (they become false negatives), thefinal recall of the overall recognition system will be affected.So, a reasonable compromise should be struck in phase oneand it should favour a high recall at the cost of a low precision.Phase Two (Inter-Class Level)In this phase, the core task of DP recognition is performedby examining all possible combinations of related roles' candidates. Each DP is recognized by a separate classifier, whichtakes as input a feature vector representing the relationshipsbetween a pair of related candidate classes. Similarly, to rolesin phase one, different DPs have different subsets of featuresselected to best represent each one of them. Input featurevectors and model training are discussed in section V. The work that we present in this paper is built on the ideas of [11] where the author presents design pattern detection method based on similarity scoring algorithm.In the context of design pattern detection, the similarity scoring algorithm is used for calculating similarity score between a concrete design pattern and analyzed system. Let GA(system) and GB(pattern) be two directed graphs with NA and NB vertices. The similarity matrix Z isdefined as an NBÃâ€"NA matrix whose entry SIJ expresses how similar vertex J (in GA) is to vertex I (in GB) and is called similarity score between two vertices (I and J). Similarity matrix Z is computed in iterative way: 0In [11] authors define a set of matrices for describing specific (pattern and software system) features (for example associations, generalizations, abstract classes). For each feature, a concrete matrix is created for pattern and for software system, too (for example association matrix, generalization matrix, abstract classes matrix). This processleads to a number of similarity matrices of size NBÃâ€"NA (one for each described feature). To obtain overall picture for the similarity between the pattern and the system, similarity information is exploited from all matrices.In the process of creating final similarity matrix, different features are equivalent. To preserve the validity of the results, any similarity score must be bounded within therange ?0, 1?. Higher similarity score means higher possibility of design pattern instance. Therefore, individual matrices are initially summed and the resulting matrix is normalized by dividing the elements of column i (corresponding to similarity scores between all system classes and pattern role i) by the number of matrices (ki) in which the given role is involved. Tsantalis et al. in [6] introduced an approach to design pattern identification based on algorithm for calculating similarity between vertices in two graphs. System model and patterns are represented as the matrices reflecting model attributes like generalizations, associations, abstract classes, abstract method invocations, object creations etc. Similarity algorithm is not matrix type dependant, thus other matrices could be added as needed. Mentioned advantagesof matrix representation are 1) easy manipulation with the data and 2) higher readability by computer researchers. Every matrix type is created for model and pattern and similarity of this pair of matrices is calculated. This process repeats for every matrix type and all similarity scores are summed and normalized. For calculating similarity between matrices authors used equation proposed in [8]. Authors minimized the number of the matrix types because some attributes are quite common in system models, which leads to increased number of false positives. Our main concern is the adaptation of selected methods by extending their searching capabilities for design smell detection. Most anti-patterns haveadditional structural features, thus more model attributes need to be compared. We have chosen several smells attributes different from design patterns features which cannot be detected by original methods. Smell characteristics (e.g., what is many methods and attributes) need to be defined. On the other hand, some design patterns characteristics are also usable for flaw detection. Structural features included in both extended methods are:associations (with cardinality)generalizationsclass abstraction (whether a class is concrete, abstract or interface).5.2 Pattern Definition Process rasoolPattern definitions are created from selection of appropriate feature types which are used by the recognition process to detect pattern instances from the source code. Precision and recall of pattern recognition approach is dependent on the accuracy and the completeness of pattern definitions, which are used to recognize the variants of different design patterns. The approach follows the list of activites to create pattern definitions. The definition process takes pattern structure or specification and identifies the majorelement playing key role in a pattern structure. A major element in each pattern is any class/interface that play central role in pattern structure and it is easy to access other elements through major element due to its connections. For example, in case of Adapter pattern, adapter class plays the role of major element. With identification of major element, the process defines feature in a pattern definition. The process iteratively identifies relevant feature types for each pattern definition. We illustrate the process of creating pattern definitions by activity diagram shown in Figure 5.3. The activity ?define feature for pattern definition? further follows the criteria for defining feature type for pattern definition. It searches the feature type in the feature type list and if the desired feature is available in the list, it selects the feature type and specifies its parameters. If the catalogue do not have desired feature in the list, the process defines new feature types for the pattern definition. The process is iterated until the pattern definition is created which can match different variants of a design pattern. The definition of feature type checks the existence of a certain feature and returns the elements that play role in the searched feature. The pattern definitions are composed from organized set of feature types by identifyingcentral roles using structural elements. The pattern definition process reduces recognition queries starting definition with the object playing pivotal role in the pattern structure. The definition process filters the matching instances when any single feature type does not match desired role. The definition of Singlton used for pattern recogniton is given below in Figure 5.2. Pattern Definition The pattern definition creation process is repeatable that user can select a single featuretype in different pattern definitions. It is customizable in the sense that user can add/remove and modify pattern definitions, which are based on SQL queries, regular expressions, source code parsers to match structural and implementation variants of different patterns. The approach used more than 40 feature types to define all the GoF patterns with different alternatives. The catalogue of pattern definitions can be extended by adding new feature types to match patterns beyond the GoF definitions.Examples of Pattern DefinitionsWe used pattern creation process to define static, dynamic and semantic features of patterns. It is clarified with examples that how features of a pattern are reused for other patterns. We selected one pattern from each category of creational, structural and behavioral patterns and complete list of all GoF pattern definitions is given in Appendix B. We describe features of Adapter, Abstract factory method and Observer in the following subsections. 5.3.1To be able to work on design pattern instances we need a way to represent them in some kindof data structure. The model used by the Joiner specifies that a design pattern can be defined from the structural point of view using the roles it contains and the cardinality relationship between couple of roles. -We describe a design motif as a CSP: each role is represented as a variable and relationsamong roles are represented as constraints among the variables. Additional variables andconstraints may be added to improve the precision and recall of the identification process.Variables have identical domains: all the classes in the program in which to identify thedesign motif. For example, the identification of micro-architectures similar to the Compositedesign motif, shown in Fig. 3, translates into the constraint system: Variables:clientcomponentcompositeleafConstraints:association(client, component)inheritance(component, composite)inheritance(component, leaf)composition(composite, component)where the four constraints represent the association, inheritance, and composition relationssuggested by the Composite design motif. When applying this CSP to identifyoccurrences of Composite in JHOTDRAW (Gamma and Eggenschwiler 1998), the fourvariables client, component, composite, and leaf have identical domainsWe seek to improve the performance and the precision of the structural identificationprocess using quantitative values by associating numerical signatures with roles in designmotifs. With numerical signatures, we can reduce the search space in two ways:– We can assign to each variable a domain containing only those classes for which thenumerical signatures match the expected numerical signatures for the role.– We can add unary constraints to each variable to match the numerical signatures of theclasses in its domain with the numerical signature of the corresponding role. These two ways achieve the same result: they remove classes for which the numericalsignatures do not match the expected numerical signature from the domain of a variable,reducing the search space by reducing the domains of the variables.Numerical signatures characterise classes that play roles in design motifs. We identifyclasses playing roles in motifs using their internal attributes. We measure these internalattributes using the following families of metrics:

Animal Farm Corruption Essay - 1289 Words

Corruption in the governments can take place in any civilization. A representation of this is, if you take a group of people and drop them off in the middle of nowhere, with no form of authority nor government. Most of the time someone will want to take power, and sacrifice the greater good for their own needs. This same form of corruption is greatly displayed in the book called, â€Å"The Animal Farm†. It shows how a utopia can turn into a dystopia in a blink of an eye. â€Å"Now comrades, what is our nature of life? To work until we die..† (Orwell 5). This quote shows the animal s way of thinking, and how they are becoming tired of the laborious working conditions in their lives. This shows the readers on how the physical life can lead to a†¦show more content†¦Nonetheless, there are many connections and analogies we can make with the book, Animal Farm. Take the game Skyrim â„ ¢ for an instance, in this game the world was in harmony until the dragons came back to life, and the so called rumors throughout the lands has once again, became true. With George Orwell s book, we can see he shows the readers on how everything was peaceful and in harmony, until Napoleon took power, and the land went back to it s hostile and unfair ways. These examples are only just a sliver of analogies we can connect to this book. Throughout George Orwell’s book, the readers can see how the story becomes more and more sinister as time goes on, but how come? Taking into account of George Orwell’s birthdate, life, and background history, we can see that many of his novels circulate around the Cold war, and the life of Stalin. This can be a clue to why the book Animal Farm has many close relations to the Cold War and other devastating actions in time. We can see that the animals have a shortage of food, and rations, same as the Germans in the Cold War, they were cold and hungry, and soon enough gave up to the Russians. In turmoil, the Animal Farm, although appearing as a children s book, has close relations to the Germans. Many of the characters in the book whom were cold and starving, gave up on their ways and turned to Napoleon. In the same way, the book can make a comparison to theShow MoreRelatedAnimal Farm Corruption Essay1379 Words   |  6 Pages Animal Farm, by George Orwell, is an allegorical novella depicting the Russian Revolution through the viewpoint of a revolution of farm animals against the owner of the farm. The revolution gives way to the pigs seizing a position of power on the farm. The pigs cement their claim to power through manipulating the other animals with force and their superior intellect. The pigs create an ideology for the animals on the farm to follow, and it begins as a message speaking of equality for all. TheirRead MoreAnimal Farm Corruption Essay1663 Words   |  7 Pagestheme corruption comes with power. In The story Animal Farm by George Orwell which follows the events of an animal rebellion on a farm that gains power, but eventually begins to become corrupt and reverted back to it s old ways due to their leader Napoleon. In the story Napoleon is shown gaining a larger stance in the rebellion only to take away animal’s rights and amendments initially created to help the farm stay on the path of rebellion against humans. In the story the theme corruption comesRead MoreAnimal Farm Corruption Essay930 Words   |  4 Pagespeople can fall subject to cor ruption. Likewise, one who is already an unjust figure is more than capable of becoming a tyrant. Such is the case in Animal Farm, a novel by George Orwell. 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When O ld Major, the boar who came up with the idea of all animals uniting against humansRead More Theme of Power Corruption in Animal Farm, by George Orwell Essay1787 Words   |  8 Pageshistory, such as World War II and proven by the actions of Napoleon in the allegory, Animal Farm, by George Orwell. As Lord Acton said â€Å"Power tends to corrupt and absolute power corrupts absolutely.† In history what was viewed as a villain or wrong doer is never the same as the perception. A leader does not begin wanting to do wrong, they start with the best intentions, but power is a tricky thing, showcased in Animal Farm as Utopian ideals but with failed practices. Most new societies that have a UtopianRead MorePolitics And Language In Animal Farm, By George Orwell720 Words   |  3 Pagesto expose the injustices he saw in the world. He does this through the many novels and essays he writes. 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This essay will discuss what opportunities Animal Farm provides Orwell by writingRead More1984: Governments Attempt to Control the Mind and Bodies of Its Citiz1253 Words   |  6 Pages1984: Governments Attempt to Control The Mind and Bodies of Its Citizens The novel Nineteen Eighty-Four by George Orwell is an American classic which explores the human mind when it comes to power, corruption, control, and the ultimate utopian society. Orwell indirectly proposes that power given to the government will ultimately become corrupt and they will attempt to force all to conform to their one set standard. He also sets forth the idea that the corrupted government will attempt toRead MoreEssay about Animal Farm: The World and the Words 1041 Words   |  5 Pages Animal Farm is a masterfully written cynical exploration into the abuse of power through language.c George Orwells book provides a theory of power structures, equality and the very nature of human character. As a short, ten-chaptered essay, this book has made its mark on the communist and authoritarian societies with the cutting morals and the phrase â€Å"All animals are equal, but some animals are more equal than others† In the beginning, Mr. Jones is an antagonistic study into Czar Nicholas IIRead MoreAnimal Farm By George Orwell1384 Words   |  6 PagesAnimal Farm is a book written by George Orwell in 1945. It was made into an animated movie in 1954. It is an allegory about real life political situations that have occurred around the world. In this essay I will discuss how it relates to actual political circumstances, how particular techniques were used in the film to enhance the meaning and comparison of real events, how Farmer Jones ruled, how the animals proved their resentment towards Farmer Jones, how their communist system operated, how egotism