Ein differenziertes Bild ergibt sich für die N-Gramm-Analyse, was einerseits der Vielfalt an verfügbaren Methoden zur Berechnung <?biblio ADDIN CSL_CITATION { "citationItems" : [ { "id" : "ITEM-1", "itemData" : { "DOI" : "10.1073/pnas.141413598", "ISBN" : "0027-8424 (Print)", "ISSN" : "00278424", "PMID" : "11447261", "abstract" : "You shall know a word by the company it keeps! With this slogan, Firth (1957) drew attention to a fact that language scholars had intuitively known for a long time: In natural language, words are not combined randomly into phrases and sentences, con- strained only by the rules of syntax. The particular ways in which they go together are a rich and important source of information both about language and about the world we live in. In the 1930s, J. R. Firth coined the term collocations for such char- acteristic, or habitual word combinations (as he called them). While Firth used to be lamentably vague about his precise understanding of this concept (cf. Lehr 1996, 21), the term itself and the general idea behind it that collocations correspond to some conventional way of saying things (Manning and Sch/u00fctze 1999, 151) were eagerly taken up by researchers in various fields, leading to the serious terminolog- ical confusion that surrounds the concept of collocations today. As Choueka puts it: even though any two lexicographers would agree that once upon a time, hit the road and similar idioms are collocations, they would most certainly disagree on al- most anything else (Choueka 1988, 4). Feel free to replace lexicographers with any profession that is concerned with language data.", "author" : [ { "dropping-particle" : "", "family" : "Evert", "given" : "Stefan", "non-dropping-particle" : "", "parse-names" : false, "suffix" : "" } ], "container-title" : "Unpublished doctoral dissertation Institut fur maschinelle Sprachverarbeitung Universitat Stuttgart", "id" : "ITEM-1", "issue" : "August 2004", "issued" : { "date-parts" : [ [ "2005" ] ] }, "page" : "353", "title" : "The Statistics of Word Cooccurrences Word Pairs and Collocations", "type" : "article-journal", "volume" : "98" }, "uris" : [ "http://www.mendeley.com/documents/?uuid=e52dba4e-b6c7-397b-80f2-2d1387b62d02" ] } ], "mendeley" : { "formattedCitation" : "(Evert 2005)", "plainTextFormattedCitation" : "(Evert 2005)", "previouslyFormattedCitation" : "(Evert 2005)" }, "properties" : { "noteIndex" : 5 }, "schema" : "https://github.com/citation-style-language/schema/raw/master/csl-citation.json" }?> und andererseits den unterschiedlichen N-Gramm-Längen geschuldet ist. Die Ergebnisse für Bigramme mit Hilfe des <hi xmlns="http://www.tei-c.org/ns/1.0" rend="italic">Pointwise-Mutual-Information</hi>-Tests (PMI) erschienen dabei am geeignetsten, um die thematischen Schwerpunkte von Dylans Schaffensphasen nach <?biblio ADDIN CSL_CITATION { "citationItems" : [ { "id" : "ITEM-1", "itemData" : { "ISBN" : "9780810884205", "abstract" : "/"With each year, new books appear on Bob Dylan, attesting to his continuing importance as a major figure in American music and culture. Bob Dylan: American Troubadour is the first book on Dylan to look at his entire career, from his first album to his most recent, Tempest, released 50 years later in 2012. In a brief compass, Brown provides insightful critical commentary on Dylan's entire corpus, placing full scope of Dylan's career in the context of its times in order to assess the relationship of Dylan's music to contemporary American culture. Each chapter addresses a particular phase of Dylan's career, taking its cue from events in Dylan's life and from the collective experiences that shaped the times. As the artist who famously proclaimed /"the times, they are a-changin',/" Dylan was never static as an artist, his music altering as the times changed. In Bob Dylan: American Troubadour, Donald Brown follows the shifting versions of Dylan, from his songs of conscientious social involvement to more personal exploratory songs; from his influential rock albums of the mid-'60s to his adaptations of Country music; from his three very different tours in the 1970s to his /"born again/" period as a proselytizer for Christ, to his frustrations as a recording and performing artist in the 1980s; from his retrospective importance in the Nineties to the refreshingly vital albums he has been producing in the 21st century. Bob Dylan: American Troubadour will engage not only Dylan fans and students of his work but those interested American popular music, history, and culture./"--Back cover. Becoming Bob Dylan (1960-1964) -- Electric Dylan (1965-1966) -- Rural glory -- Take me as I am (1968-1973) -- Back in the rain (1974-1978) -- The changing of the guard (1978-1981) -- Rock and roll dreams (1983-1990) -- Good enough for now (1989-1997) -- Bob Dylan revisited (2000-2012).", "author" : [ { "dropping-particle" : "", "family" : "Brown", "given" : "Donald", "non-dropping-particle" : "", "parse-names" : false, "suffix" : "" } ], "collection-title" : "Tempo, a rowman and littlefield music series on rock, pop, and culture", "id" : "ITEM-1", "issued" : { "date-parts" : [ [ "2014" ] ] }, "number-of-pages" : "267", "publisher" : "Rowman & Littlefield", "publisher-place" : "Lanham, Md. [u.a.]", "title" : "Bob Dylan: American troubadour", "type" : "book" }, "uris" : [ "http://www.mendeley.com/documents/?uuid=979f2336-35d8-300e-b66e-5220580dc90c" ] } ], "mendeley" : { "formattedCitation" : "(Brown 2014)", "manualFormatting" : "Brown (2014)", "plainTextFormattedCitation" : "(Brown 2014)", "previouslyFormattedCitation" : "(Brown 2014)" }, "properties" : { "noteIndex" : 5 }, "schema" : "https://github.com/citation-style-language/schema/raw/master/csl-citation.json" }?> nachzuvollziehen. So findet das PMI-Verfahren im Subkorpus der Phase „The Changing of the Guard“ (1978-1981) Bigramme wie <hi xmlns="http://www.tei-c.org/ns/1.0" rend="italic">close prayer, name lucifer, jesus good, jesus bone oder arise upon</hi>, die eindeutig religiöse Bezüge in Dylans Texten dieser Phase veranschaulichen. Generell fällt jedoch die Dominanz von Refrain-Versen in den Liedern bedeutend ins Gewicht (z.B. <hi xmlns="http://www.tei-c.org/ns/1.0" rend="italic">knock heaven door</hi>), was die Qualität der Ergebnisse insbesondere bei den Trigrammen beeinflusst.