| 0:00:00 | hi |
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| 0:00:01 | my name's make sure alarm professor of english language and literature lancaster |
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| 0:00:07 | i'm interested in |
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| 0:00:08 | how when people read texts particularly nature of text |
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| 0:00:13 | how they manage to get a problem the words on the page to the mean |
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| 0:00:16 | age |
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| 0:00:18 | and also |
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| 0:00:19 | how text okay |
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| 0:00:21 | i'm going to try and |
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| 0:00:23 | sure you extracting |
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| 0:00:25 | also helps people not addressed to understand expect that but also to appreciate and joy |
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| 0:00:32 | are shown to you by analysing the variational probably why don't you ain't cool |
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| 0:00:39 | you we use four plots |
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| 0:00:42 | i mean tell you just a little bit about how empirical we look at it |
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| 0:00:47 | it's a time-invariant right and appears to be |
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| 0:00:50 | a addressing the woman now santa clara mutual for |
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| 0:00:55 | you declared if you have that what's however |
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| 0:00:59 | you would give them to |
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| 0:01:01 | but in fact it doesn't have them use pool |
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| 0:01:04 | and so incredibly fast low |
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| 0:01:07 | so the value of slot appears to go up comparison |
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| 0:01:12 | it's if you like to be like the parables the we might |
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| 0:01:16 | well |
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| 0:01:18 | if we look at the cutting mostly that a one otherwise in which the hidden |
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| 0:01:22 | the important parts |
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| 0:01:24 | become important is that i |
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| 0:01:26 | take out the description takes out how of the power |
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| 0:01:31 | the amount of the probably in the past a way |
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| 0:01:33 | in being equal |
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| 0:01:35 | is very small white house |
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| 0:01:38 | and i'm going to concentrate on a couple of the lines where |
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| 0:01:41 | the probably the also scroll it |
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| 0:01:44 | but that's first of all |
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| 0:01:46 | read the problem through |
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| 0:01:47 | so that you can understand better what i'm doing |
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| 0:01:50 | you'll see that the two times that i've decided to concentrate on a bold in |
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| 0:01:55 | the display so easy to spot |
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| 0:01:59 | how do i have an embroidered clock |
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| 0:02:02 | and rule with gold and silver light |
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| 0:02:06 | the blue and the team on the dot crawl |
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| 0:02:10 | night and light on the offline |
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| 0:02:13 | i would rate the clock on the three |
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| 0:02:17 | but i |
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| 0:02:18 | being equal |
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| 0:02:20 | have a reminder e |
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| 0:02:22 | i sprayed my three on |
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| 0:02:25 | right so |
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| 0:02:27 | the college utrecht |
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| 0:02:30 | and we concentrate on a part of the home which describes the cross you can |
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| 0:02:36 | see that apart from satellite in the first line |
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| 0:02:41 | the first four hundred just descriptions of the cross |
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| 0:02:45 | the pointing to noun phrases which describes across the first one is the haven't embroidered |
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| 0:02:52 | for and what we go one and two right |
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| 0:02:56 | and |
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| 0:02:57 | there are two big metaphors in that line which make all those lines which make |
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| 0:03:03 | clause difficult to understand and i think what they starting the problem is to make |
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| 0:03:08 | the low pay intangible and mystical in some way |
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| 0:03:13 | this is because first of all |
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| 0:03:16 | that happens clocks we don't normally associate plots with paper we associate with we will |
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| 0:03:23 | and then secondly if we look at the relative to have a small defined worked |
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| 0:03:28 | well |
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| 0:03:29 | we can see that it says animal with goal going to light and then we'll |
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| 0:03:33 | this kind of thing that semantic we normally applies to metallic thing is not possible |
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| 0:03:41 | then if we go on to the next two lines which we wonder what concentrate |
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| 0:03:45 | on my mother who you get another noun phrase the blue and the t and |
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| 0:03:51 | the dark rules |
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| 0:03:53 | a light and light |
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| 0:03:57 | if we do this line in more detail we can see that the head nodding |
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| 0:04:01 | head noun close to the end of the first line has already modifiers which are |
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| 0:04:08 | coordinated together |
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| 0:04:10 | you unusually so |
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| 0:04:12 | the blue and the d dot |
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| 0:04:15 | and then after the whole across you get three how small because which are also |
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| 0:04:20 | coordinated to get a |
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| 0:04:22 | all right and light and the whole flight |
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| 0:04:26 | and then we expect them to relate to one another in terms of sequence |
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| 0:04:32 | so you'd expect the three modifiers coming off to i two matching sequences three modifiers |
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| 0:04:39 | coming before that i |
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| 0:04:42 | but actually what unites does used to choose the only possible combination mathematical whereby each |
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| 0:04:50 | impossible to line them up |
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| 0:04:53 | i shown this notice by the different colours like blue should go light |
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| 0:04:58 | no i should go dark and d to go off glide |
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| 0:05:03 | you know what he's making it difficult for you to understand difficult to process and |
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| 0:05:10 | he's doing that for reasons |
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| 0:05:12 | the reason is that it makes a quasi mystical related to have an |
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| 0:05:17 | and therefore much value |
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| 0:05:20 | so that when we get to |
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| 0:05:22 | the young man himself and him spreading dreams on the only sweet |
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| 0:05:28 | those streams have become more important |
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