Tracing Regularities in Pedro Calderón de la Barca's Dramatic OEuvre with a Computational Approach

佩德罗·卡尔德龙·德拉巴萨(Pedro Calderón de la Barca，1600-1680)是西班牙黄金时代最多产的作家之一(《西格洛·德·奥罗》)，一生创作了200多部戏剧。在文学研究中，西班牙黄金时代的喜剧《nueva》与法国古典戏剧作品相比，往往被认为是“不规范的”。然而，如果每一件作品都是完全独一无二的，卡尔德龙是如何创作出如此浩瀚的œuvre的？在这个项目中，我们的目标是利用最近创建的约200部戏剧(110部喜剧片和84部汽车圣餐)的语料库，识别卡尔德龙作品中的反复出现的模式。我们提出这样的问题：在这些作品中使用的词汇、语义和戏剧结构中可以观察到哪些规律？在卡尔德龙使用的喜剧和汽车圣餐这两个子体裁中，角色星座和典型角色的使用都有哪些重复？在卡尔德龙戏剧性的œuvre的基础上所作的概括可以扩展到Siglo de Oro的进一步作品吗？具体地说，我们将结合文学分析的定性和定量方法来分析喜剧和汽车圣礼的四个主要方面：(A)词汇的选择和使用的分析，为我们提供一个超越喜剧和悲剧二元组的细粒度体裁分类(使用分配方法)；(B)识别反复出现的角色类型和角色互动(使用社会网络分析)；(C)以话语分布和韵律结构为基础的整体戏剧结构的特征；(D)分析观察到的规律的时间动态，这也使我们能够提出卡尔德龙以前未确定日期的戏剧的日期。最后，我们将测试在本研究项目中开发的方法的可移植性，这些方法是关于Siglo de Oro的其他作者所写的戏剧的。

Pedro Calderón de la Barca (1600–1680) was one of the most prolific writers of the Spanish Golden Age ("Siglo de Oro"), producing over two hundred dramas over the course of his life. In literary studies, the comedia nueva of the Spanish Golden Age is often assumed to be "irregular" compared to the works of French classical theatre. However, if each work was totally unique, how did Calderón produce such as vast œuvre? In this project, we aim at identifying recurring patterns in Calderón’s work, taking advantage of a recently created corpus of about 200 of his dramas (110 comedias nuevas and 84 autos sacramentales). We ask questions such as: Which regularities can be observed in the lexis, the semantics, and the dramatic structure used in these works? Which repetitions in the use of character constellations and typical characters can be found in both of the sub-genres Calderón used, the comedias and the autos sacramentales? And can the generalizations made on the basis of Calderón's dramatic œuvre be extended to further works of the Siglo de Oro? Specifically, we will integrate qualitative and quantitative methods of literary analysis to analyze four primary aspects of the comedias and autos sacramentales with regard to recurring elements: (a) analysis of choice and use of vocabulary, providing us with a fine-grained genre classification beyond the binary division into comedies and tragedies (using distributional methods); (b) identification of recurring character types and character interactions (using social network analysis); (c) characterization of overall dramatic structure anchored in utterance distribution and metrical structure; (d) analysis of the temporal dynamics of the observed regularities, which also enables us to propose datings of previously undated dramas written by Calderón. Finally, we will test the transferability of the methods developed in this research project on dramas written by other authors of the Siglo de Oro.