Lab Activity: DH: MIT Moral Machine and CLiC Dickens Project

 

This blog is part of the task on Lab Activity - "CLiC Dickens Project". CLiC Dickens Project" topic was given by professor Dr. Dilip Barad and for the reference of the task detail reading click here. Certainly, here's a unique and intriguing answer so, this blog deals with some of the answers to questions.

Activity 1: Fictional and real speech in Jane Austen and the 19th Century

Cluster: "I should like to see her"

In Charlotte Brontë's The Professor, the line "Oh, that is the name! Yes--if it would be convenient, I should like to see her--but----." appears to be spoken by a character who is expressing a desire to meet or see a female character, yet hesitates to fully commit to the request. The cluster "I should like to see her" is a polite and somewhat tentative expression of interest in seeing someone.

 

The phrase "I should like to see her" is formal and polite. It suggests that the speaker is mindful of social etiquette and is careful not to impose or appear too forward.The hesitation marked by the dash "--but----" indicates that the speaker has some reservations or is uncertain about the appropriateness of the request. This can imply a range of emotions, from anxiety to a fear of rejection or inconvenience. Despite the hesitation, the speaker clearly has a genuine interest in meeting the female character. The phrase "I should like" conveys a personal desire or curiosity.

 

Characters might use this phrase when making a formal request to meet someone, particularly in settings where social hierarchy and etiquette are important. It shows respect and consideration for the other person's time and convenience. It can be used to express interest in meeting someone for the first time or after a long period. This could be out of curiosity, admiration, or a desire to reconnect.

 

The use of "I should like to see her" can reveal aspects of a character’s personality, such as their politeness, formality, and careful nature. It might suggest that the character is not impulsive and values proper conduct. This phrase can help move the plot forward by initiating a meeting or encounter between characters. The hesitation in the line adds a layer of tension and anticipation. It makes the reader curious about the reasons behind the character's reservations and what might happen next. The manner in which a character uses this phrase can reflect the nature of their relationship with the person they wish to see.

Cluster: "What is to be done

In Jane Austen's Emma, the line "What is to be done, my dear Emma?--what is to be done?" is spoken by Mr. Woodhouse. This repetition underscores his anxious and indecisive nature, reflecting his reliance on Emma for reassurance and guidance. Mr. Woodhouse's repeated question indicates a state of distress and worry. He is overwhelmed by a situation and looks to Emma for support and solutions. The phrase highlights Mr. Woodhouse’s dependence on his daughter Emma for comfort and decision-making. It shows his inability to cope with uncertainty without her guidance. The repetition conveys a sense of urgency and helplessness, emphasizing that Mr. Woodhouse feels unable to take action on his own. Characters might use this phrase when faced with a crisis or unexpected problem, expressing their immediate need for a solution. It can be used to illustrate a character’s indecision or confusion, highlighting their inability to decide on a course of action. The use of "what is to be done" helps to characterize Mr. Woodhouse as anxious, dependent, and somewhat ineffectual. It contrasts with Emma's more composed and reassuring nature. This phrase can set the stage for action or decisions that drive the plot forward. Emma's response to her father's question can lead to key developments in the story. Emma’s role as a reassuring presence is emphasized as she provides the comfort and assurances that revive her father. Her competence and calmness contrast with his anxiety.

# Do we use any of the clusters in real spoken language nowadays? How?

Ans:

In contemporary spoken language, the cluster "I should like to see her" is less common due to its formal and somewhat antiquated tone. Today, people are more likely to say "I would like to see her" or simply "I'd like to see her." These modern variations maintain the polite and respectful intent but sound more natural in everyday conversation. The formality and careful nature of the original phrase are often replaced with a more straightforward approach, reflecting a shift towards more direct communication. Despite this, the core function of expressing a desire to meet someone while maintaining politeness and consideration for the other person's convenience remains relevant. On the other hand, the phrase "What is to be done?" is still used, albeit less frequently, and often in a rhetorical sense. In modern speech, people might say "What should we do?" or "What can be done?" These variations convey a similar sense of urgency and need for guidance but are more aligned with contemporary language usage. The repeated questioning seen in Mr. Woodhouse's line from Emma is also reflected in how people express distress or indecision today, often through repetition or emphasizing their need for immediate solutions. This phrase, in its updated forms, continues to highlight a character's anxiety, dependence, or confusion, just as it does in the original context. Each cluster, while rooted in historical contexts, finds its modern equivalents and remains functionally relevant in expressing politeness, formality, urgency, and indecision in today's language.

# Comparative Analysis of the Phrase "It Seems to Me That" in 19th-Century Novels and Contemporary Spoken English:

Ans:

The phrase "it seems to me that" exhibits significant differences in usage and context when comparing 19th-century novels to contemporary spoken English, as evidenced by the British National Corpus (BNC) spoken data. In 19th-century literature, this phrase is often employed within narrative or dialogue to convey characters' personal judgments, thoughts, or interpretations. Characters in novels use this phrase to provide insights into their inner lives, shape the reader's understanding of events, or subtly influence perceptions of other characters. This use of "it seems to me that" reflects a formal, literary style where the phrase serves to articulate a character's subjective perspective or reasoning in a structured and deliberate manner. The application is typically introspective and crafted to fit within the broader narrative context, adding depth and complexity to character development and plot progression.

In contrast, contemporary spoken English, as captured in the BNC, reveals a more informal and conversational use of "it seems to me that." In everyday speech, people use this phrase to express personal opinions or observations, reflecting a fluid and interactive communication style. The phrase serves to introduce viewpoints, qualify statements, and signal subjectivity or uncertainty. Its usage helps manage conversational flow and navigate discussions with a degree of politeness or hedging, adapting to the immediacy of spoken interactions. Unlike the deliberate and crafted usage in 19th-century novels, the phrase in modern spoken English is more spontaneous and pragmatic, facilitating smooth and effective communication in social interactions.

Thus, the 19th-century novel examples demonstrate a more introspective and formal application of the phrase, whereas the BNC data illustrates its pragmatic and conversational use in contemporary spoken English. This contrast highlights the evolution of language use from the structured narrative style of the 19th century to the dynamic, interpersonal nature of modern spoken discourse. The shift reflects broader changes in communication practices, where the formal and literary expressions of the past have given way to more immediate and adaptable forms of speech in contemporary society.

# Comparison of Clusters in Austen's Novels and the 19th-Century Corpus

Ans:

When examining phrase clusters from Jane Austen's novels and those from a broader 19th-century literary corpus, notable similarities and differences emerge. In Austen's novels, unique clusters such as "I should like to know," "what do you think of," and "I want to speak to" reflect the social interactions and personal desires of her characters. These phrases often indicate curiosity, a request for opinions, or a desire to communicate important personal matters. Additionally, phrases like "a quarter of an hour" showcase Austen's meticulous attention to social etiquette and daily life details. On the other hand, the 19th-century corpus includes phrases like "i do not know that," "i do not mean to," and "very much obliged to you." These expressions cover a wider range of themes, such as doubt, intention, and politeness, highlighting the broader thematic and contextual diversity present in 19th-century literature. Common clusters found in both Austen’s novels and the broader corpus include "I do not know what" and "I am sure you will." These shared phrases indicate common expressions of uncertainty or clarification and show confidence in someone’s actions or decisions. Analyzing the context and function of these clusters reveals further insights. In Austen’s novels, phrases like "I should like to know" express curiosity and reflect the social dynamics and interactions of her characters, while "what do you think of" is used to request opinions in social settings. Similarly, "i want to speak to" signals a desire to communicate important personal matters, and "it seems to me that" shows personal perception or opinion. In contrast, clusters from the 19th-century corpus, such as "I do not know what," indicate uncertainty, while "I am sure you will" expresses confidence or assurance. Phrases like "I do not know that" show doubt or denial in formal contexts, and "very much obliged to you" reflects politeness and gratitude in courteous interactions. In nut shell, the comparison reveals that Jane Austen’s novels and 19th-century literature share some common phrases like "I do not know what" and "I am sure you will," which are often used to express uncertainty or confidence. Austen’s novels also feature unique phrases such as "I should like to know" and "I want to speak to," specific to her characters’ social interactions and daily life. In general 19th-century literature, the phrases cover a broader range of topics, including doubt, intention, and politeness. This comparison highlights what makes Austen’s dialogue distinctive while also illustrating the general speech patterns of the 19th century.

# In what contexts and with what function do you expect them to be used?

Ans:

1. Austen’s Novels

"I should like to know" and "what do you think of":

These phrases are used in conversations where characters seek to understand each other's viewpoints or gather information. They reflect the social dynamics of Austen's time, characterized by politeness and indirectness. The phrases are employed to convey curiosity and request opinions in a manner that maintains decorum and fosters smooth social interactions.

"I want to speak to":

This phrase indicates a character's desire to discuss something significant, often related to personal or emotional matters. It highlights the character's intention to communicate important thoughts or feelings, which is central to the development of interpersonal relationships and plot progression in Austen's novels.

"it seems to me that":

Used to articulate personal perceptions or opinions, this phrase is common in reflective or evaluative contexts. It allows characters to express their subjective views and insights, contributing to the introspective and analytical nature of Austen’s dialogue.

"a quarter of an hour":

This specific time reference demonstrates Austen's attention to detail and the importance of social etiquette. It reflects the structured and punctual nature of daily life in her novels, providing a sense of realism and adding depth to the social interactions depicted.

2. 19th-Century Corpus

"I do not know what" and "I am sure you will":

These phrases are used to express uncertainty or confidence in various contexts. "I do not know what" indicates a lack of information or clarity, while "I am sure you will" conveys assurance or belief in someone's actions or decisions. These expressions are found in both formal and informal settings, illustrating their broad applicability.

"I do not know that" and "I do not mean to":

These phrases are used in more formal or rhetorical contexts. "i do not know that" often expresses doubt or denial, while "i do not mean to" clarifies intentions or lack thereof. They are commonly found in discussions about personal goals, beliefs, or actions, reflecting the period's formal and analytical discourse.

"very much obliged to you":

This phrase reflects politeness and gratitude, commonly used in formal interactions. It highlights the importance of courteous expressions in social exchanges and the emphasis on politeness and respect in 19th-century communication.

In overview we can say that, while Austen’s phrase clusters are focused on the nuances of social interactions and personal desires within her structured narrative, the broader 19th-century literary corpus showcases a wider range of expressions used to convey uncertainty, intention, and politeness in various contexts. Austen’s dialogue is characterized by its subtlety and attention to social etiquette, whereas the 19th-century corpus reflects a diverse array of thematic and rhetorical uses of language.

# How does the list of non-quote clusters differ from the quote clusters?

Ans:

Word: "The"

Represented Speech: Characters' Dialogue In Jane Austen's "Pride and Prejudice", the dialogue of characters is crafted to reflect their social standing, personal traits, and the intricacies of their interactions. Phrases like "I should like to know," "What do you think of," and "I want to speak to" embody the polite and indirect nature of conversations in Austen's time. These clusters reveal characters' curiosity, desire for opinions, and the need to communicate significant matters without breaching social etiquette. For instance, Mrs. Bennet's persistent inquiries about Mr. Bingley’s marital status and her insistence on Mr. Bennet visiting him display her preoccupation with securing advantageous marriages for her daughters, showcasing her social aspirations and limited understanding. This meticulous representation of speech adds depth to characters, highlighting their motivations and the social dynamics they navigate. Narrating Persona: Narrative Style In contrast, the narrating persona in Austen's novels employs a more analytical and sometimes ironic tone. The narration often provides context, background, and insights that the characters themselves might be unaware of or unable to articulate. For example, the opening line, "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife," serves as a satirical commentary on societal expectations, setting the tone for the narrative. The narrator's descriptions, such as characterizing Mr. Bennet as "so odd a mixture of quick parts, sarcastic humour, reserve, and caprice," offer readers a deeper understanding of his complexities that go beyond his spoken words. This narrative style not only distinguishes the narrator's voice from the characters but also provides a critical perspective on the social norms and character behaviors within the story. Stylistic Differences: Characters vs. Narrator The stylistic differences between the characters' dialogue and the narrator’s prose highlight the contrast between represented speech and narrative commentary. Characters' speech is often imbued with the constraints of social etiquette, personal biases, and limited self-awareness. In contrast, the narrator’s prose is more reflective, offering broader societal critiques and deeper psychological insights. For instance, while Mrs. Bennet's dialogue reveals her anxious and frivolous nature, the narrator's description of her as "a woman of mean understanding, little information, and uncertain temper" provides a succinct and incisive assessment of her character. These stylistic variations signal the distinction between the immediate, often superficial interactions of characters and the more considered, evaluative perspective of the narrator. Functional Implications This differentiation in style serves several functions in Austen’s novels. It allows readers to engage with characters on a personal level through their dialogue while also gaining a more comprehensive and critical understanding of the narrative through the narrator’s commentary. The interplay between the two styles enhances the richness of the narrative, providing both an immersive experience of the characters' world and a critical lens through which to view the societal norms and personal dynamics at play. This dual approach helps to create a layered and nuanced storytelling technique, distinguishing Austen's work as both a social commentary and a compelling portrayal of individual lives.

Word: Mr.

Represented Speech: Character's Dialogue In the excerpt from "Pride and Prejudice", Jane Austen crafts her characters' dialogue to reflect their individual personalities and social positions. Mr. Bingley's dialogue showcases his amiable and social nature, as he makes an effort to engage with everyone at the ball and expresses delight in dancing. His unreserved and lively manner is evident in his conversations, highlighting his openness and friendliness. In contrast, Mr. Darcy's speech is marked by formality and aloofness, indicating his pride and disdain for the social event. His refusal to dance with anyone he is not acquainted with, and his dismissive remarks about Elizabeth Bennet's appearance, underscore his reserved and haughty disposition. Mrs. Bennet's enthusiastic and somewhat overbearing speech reveals her obsession with marrying off her daughters, while Mr. Bennet's sarcastic and detached responses illustrate his amusement and frustration with his wife's behavior. This diversity in dialogue captures the characters' distinct traits and societal roles, contributing to the richness of the narrative. Narrating Persona: Narrative Style The narrating persona in Austen's work provides a broader, more analytical perspective compared to the characters' direct speech. The narrator's voice often carries a tone of irony and subtle critique, as seen in the opening lines that comment on societal expectations with a satirical edge. Descriptions such as "Mr. Bennet was so odd a mixture of quick parts, sarcastic humor, reserve, and caprice" offer a deeper understanding of his complexities that are not immediately apparent in his dialogue. The narrator's insights into the character's thoughts and motivations, such as Elizabeth's playful disposition and her reaction to Mr. Darcy's slight, add layers of meaning that go beyond the spoken words. This narrative style allows Austen to provide commentary on the social norms and character behaviors within the story, offering readers a more comprehensive view of the narrative landscape. Stylistic Differences: Characters vs. Narrator The stylistic differences between the characters' dialogue and the narrator’s prose highlight the distinction between represented speech and narrative commentary. Characters' speech tends to be more immediate and reflective of their personal biases and social constraints. For instance, Mrs. Bennet's effusive speech about Mr. Bingley's attention to Jane reveals her shallow priorities and social ambitions, while Mr. Darcy's curt and formal language underscores his sense of superiority and discomfort in social gatherings. In contrast, the narrator's prose provides a more detached and reflective analysis of these interactions, often with an ironic or critical undertone. This difference in style underscores the characters' limited self-awareness and the narrator’s broader, more discerning perspective, enriching the narrative with multiple layers of meaning and insight. Functional Implications The interplay between the character's dialogue and the narrator’s commentary serves several functions in Austen’s novels. It allows readers to engage with the characters on a personal level, understanding their motivations and social interactions through their own words. Simultaneously, the narrator’s voice offers a critical lens through which to view these interactions, providing context and deeper insights that the characters themselves may lack. This dual approach enhances the storytelling by balancing the immediacy of dialogue with the reflective depth of narrative prose, creating a nuanced and layered depiction of the social world Austen portrays. The contrast between represented speech and the narrating persona thus adds to the richness and complexity of the narrative, making Austen's work both a social commentary and a compelling exploration of individual lives.

Activity 2: Growing up in Great Expectations

Introduction:

The activity suggests that noblemen and women are often from the educated upper middle class. But what about the young men and women who are less fortunate, who are uneducated, poor, destitute, or orphaned? Orphans are a popular figure in nineteenth-century literary fiction.

In this activity, Pip, the orphan protagonist from Dickens's novel "Great Expectations," is used as an example. Pip narrates his story from an adult point of view.

Parenting in Great Expectations:

In "Great Expectations," Pip is often told to be grateful, yet he frequently feels regret. He often says that he was brought 'up by hand,' a phrase he uses fourteen times in the novel.

By looking at these phrases in a larger context, we learn how Pip is raised by his sister, Mrs. Joe Gargery. She takes pride in her strict and physically disciplined parenting, which she calls 'bringing up by hand.' Many times, Pip is seen negatively by other characters, but as an orphan, he can't do much about it.

Mr. Pumblechook praises Mrs. Joe Gargery's strict methods. Pip undergoes an uncomfortable cleaning and dressing process by his young guide, who treats him as if he needs strict discipline. After being scrubbed, soaped, and put into stiff, formal clothes, Pip is handed over to Mr. Pumblechook, who pompously reminds him to be grateful, especially to those who raised him with strict methods.

Gratitude and Regret in Great Expectations:

Pip feels happy and thankful to his sister, Joe Gargery, remembering her love when he was a child. Whenever Joe uses old endearing names for Pip, he feels overwhelmed with gratitude. Pip is grateful for Joe's love and familiarity, Herbert's care and kindness, and the consistent kindness of Mr. Pumblechook's yearly gifts and the festive cheer of Christmas gatherings.

Herbert's compassionate nursing during Pip's recovery provides both physical relief and emotional comfort. Pip also feels blessed that Estella, despite his humble background, is destined for him, and he is overwhelmed by the idea of such an esteemed person being a part of his life.

Why Pip is (Un)grateful:

Pip feels remorseful because he is deeply ashamed of his ingratitude towards Joe, especially when compared to the deceitful and pompous Mr. Pumblechook. Pip sees Miss Havisham's self-destructive actions and isolation leading to her profound suffering and madness, evoking deep compassion. He also fears the consequences of his fight with the pale young gentleman, worrying about punishment for the injuries he caused and the evidence left on his clothing.

Pip deeply mourns Estella's impact on his life, acknowledging both the good and bad influences. Overwhelmed by his emotions, he decides to walk to London to escape his distress and avoid facing other people.

Learning Outcome:

After this activity, we can see a significant change in Pip's perspective. His way of thinking and understanding things has drastically changed. As an adult, Pip can now see and understand other characters more clearly than he did in his childhood. For example, as a child, he admired Mr. Pumblechook, but as an adult, his admiration gradually wanes. By examining words like "grateful" and "ungrateful," we gain insights into how Pip's views of characters evolve over time.

                                      Thank You.