B U L L E T I N O F T H E C O M E D I A N T E S 2 0 2 2 – 2 3 | v ol / 7 4 N º 1 + 2 p r e p u b l i c at i o n ( p r o j e c t m u s e ) 1 D o n a l d R . L a r s o n D o n a l d R . L a r s o n D o n a l d R . L a r s o n Developments in computational analysis, corpus construction, and text editing have opened exciting new areas of inquiry in comedia studies. The first two decades of the twenty-first century have seen a swell of stylometric studies dedicated to comedias of unknown or disputed authorship. This essay gives an account of stylometry, or the quantitative analysis of textual evidence, and appraises it in plain, nontechnical language. Taking the perspective most germane to comedia studies, the article reviews stylometry’s place in authorship studies; considers the mechanics of performing it and some of the tests and methods employed; provides a brief history of stylometry in the early modern Spanish theater context; comments on the preparation of adequate texts and corpora; and offers conclusions about the overall implications of this mode of analysis. An Overview of Stylometry and Its Application to the Comedia1 Jane W. Albrecht Wake Forest University There is no shortage of authorship mysteries in early modern Spanish literature, including several renowned cases. The real name of “un tal Avellaneda” who produced the unauthorized sequel to Don Quijote, called the Segundo tomo del ingenioso hidalgo don Quijote de la Mancha, is open to debate. Furthermore, the originator of the picaresque novel Lazarillo de Tormes, among the most studied texts in European literature, is still disputed.2 In comedia studies, there is uncertainty over who wrote El burlador de Sevilla and El condenado por desconfiado, as well as two other splendid plays, La estrella de Sevilla and El rey don Pedro en Madrid e infanzón de Illescas, among others.3 The first two decades of the twenty-first century have seen a swell of stylometric studies in the field, a number of which are dedicated to comedias of unknown or disputed authorship. I should like to give an account of this growing discipline and appraise stylometry in plain, nontechnical language. I will first review its place in authorship studies; next consider the mechanics of performing stylometry and some of the tests and methods employed; then offer a brief history of stylometry in the early modern Spanish theater context; and, last, comment on the preparation of adequate corpora and texts.4 I begin with two basic questions: what does it matter who wrote a given literary text, and what can stylometry offer scholars? First, why should anyone be concerned about authorship, be they general readers, students, scholarresearchers , theater directors, or actors? There are at least three answers RESE A R C H B U L L E T IN B U L L E T I N O F T H E C O M E D I A N T E S 2 0 2 2 – 2 3 | v ol / 7 4 N º 1 + 2 p r e p u b l i c at i o n ( p r o j e c t m u s e ) 2 to that query. Verifying the accuracy of the information we communicate in the public sphere, in classrooms, colloquia and theaters, and in print and electronic media, is fundamental to a civil society and the academic enterprise. This is simple good sense. We would not dream of misattributing a novel by a living author and then stand by and watch the error take root and spread over time. Rather, we would try to rectify the mistake by whatever responsible means we could muster. Next, since we approach a work in terms of others by the same writer (notwithstanding the demise and revival of the concept of author during the past fifty years), speaking of Galdosian or Dickensian themes, settings or characters, identifying...

喜剧演员 TES 公告 2 0 2 2 – 2 3 | 卷 / 7 4 N º 1 + 2 公共预案 (projectmuse) 1 Donald R. 拉森·唐纳德·R。拉森·唐纳德·R。拉尔森 计算分析、语料库构建和文本编辑方面的发展为喜剧研究开辟了令人兴奋的新领域。二十一世纪的前二十年，针对作者身份不明或有争议的喜剧的风格研究激增。本文介绍了文体计量学，即文本证据的定量分析，并用简单的、非技术性的语言对其进行了评价。以最德国的视角来研究喜剧，这篇文章回顾了文体测量学在作者研究中的地位；考虑执行它的机制以及所采用的一些测试和方法；提供了早期现代西班牙戏剧背景下风格测量学的简史；对准备充足的文本和语料库的评论；并提供有关这种分析模式的总体影响的结论。文体测量学及其在喜剧中的应用概述1 Jane W. Albrecht Wake Forest University 早期现代西班牙文学中不乏作者身份之谜，包括几个著名的案例。未经授权制作了《堂吉诃德》续集的“某个阿维拉内达”的真名，即《第二部托莫德尔英杰尼奥索伊达尔戈堂吉诃德·德拉曼查》，是有争议的。此外，流浪汉小说《Lazarillo de Tormes》的创始人，欧洲文学中研究最多的文本之一，但仍然存在争议。Pedro en Madrid 和 Infanzón de Illescas 等。3 二十一世纪的前二十年，该领域的文体测量研究激增，其中许多致力于作者未知或有争议的喜剧。我想用简单、非技术性的语言来描述这一不断发展的学科并评价文体测量学。我首先回顾一下它在作者研究中的地位；接下来考虑执行造型测量的机制以及所采用的一些测试和方法；然后简要介绍了早期现代西班牙戏剧背景下的风格测量学历史；和，最后，对充足的语料库和文本的准备进行评论。4我从两个基本问题开始：给定的文学文本是谁写的有什么关系，文体学可以为学者提供什么？首先，为什么任何人都应该关心作者身份，无论是普通读者、学生、学者、戏剧导演还是演员？至少有三个答案 RESE ARCHBULLET IN BULLETINOFTHECOMEDIAN TES 2 0 2 2 – 2 3 | v ol / 7 4 N° 1 + 2 prepublic at ion (projectmuse) 2 到该查询。验证我们在公共领域、课堂、座谈会和剧院以及印刷和电子媒体中传播的信息的准确性是公民社会和学术事业的基础。这是简单明了的道理。我们不会梦想错误地归因于一位在世作家的小说，然后袖手旁观，看着错误生根发芽并随着时间的推移而蔓延。相反，我们会尝试通过我们可以采取的任何负责任的手段来纠正错误。接下来，由于我们从同一位作家的其他人的角度来看待一部作品（尽管在过去五十年里作者的概念消亡和复兴），谈到加尔多西式或狄更斯式的主题、背景或人物，识别……