TArC: Incrementally and Semi-Automatically Collecting a Tunisian Arabish Corpus

This article describes the constitution process of the first morpho-syntactically annotated Tunisian Arabish Corpus (TArC). Arabish, also known as Arabizi, is a spontaneous coding of Arabic dialects in Latin characters and arithmographs (numbers used as letters). This code-system was developed by Arabic-speaking users of social media in order to facilitate the writing in the Computer-Mediated Communication (CMC) and text messaging informal frameworks. There is variety in the realization of Arabish amongst dialects, and each Arabish code-system is under-resourced, in the same way as most of the Arabic dialects. In the last few years, the focus on Arabic dialects in the NLP field has considerably increased. Taking this into consideration, TArC will be a useful support for different types of analyses, computational and linguistic, as well as for NLP tools training. In this article we will describe preliminary work on the TArC semi-automatic construction process and some of the first analyses we developed on TArC. In addition, in order to provide a complete overview of the challenges faced during the building process, we will present the main Tunisian dialect characteristics and their encoding in Tunisian Arabish.Comment: Paper accepted at the Language Resources and Evaluation Conference (LREC) 202

TArC: Incrementally and semi-automatically collecting a Tunisian arabish corpus

This article describes the constitution process of the first morpho-syntactically annotated Tunisian Arabish Corpus (TArC). Arabish, also known as Arabizi, is a spontaneous coding of Arabic dialects in Latin characters and arithmographs (numbers used as letters). This code-system was developed by Arabic-speaking users of social media in order to facilitate the writing in the Computer-Mediated Communication (CMC) and text messaging informal frameworks. There is variety in the realization of Arabish amongst dialects, and each Arabish code-system is under-resourced, in the same way as most of the Arabic dialects. In the last few years, the focus on Arabic dialects in the NLP field has considerably increased. Taking this into consideration, TArC will be a useful support for different types of analyses, computational and linguistic, as well as for NLP tools training. In this article we will describe preliminary work on the TArC semi-automatic construction process and some of the first analyses we developed on TArC. In addition, in order to provide a complete overview of the challenges faced during the building process, we will present the main Tunisian dialect characteristics and their encoding in Tunisian Arabish

Sentiment Analysis for the Low-Resourced Latinised Arabic "Arabizi"

The expansion of digital communication mediums from private mobile messaging into the public through social media presented an opportunity for the data science research and industry to mine the generated big data for artificial information extraction. A popular information extraction task is sentiment analysis, which aims at extracting polarity opinions, positive, negative, or neutral, from the written natural language. This science helped organisations better understand the public’s opinion towards events, news, public figures, and products. However, sentiment analysis has advanced for the English language ahead of Arabic. While sentiment analysis for Arabic is developing in the literature of Natural Language Processing (NLP), a popular variety of Arabic, Arabizi, has been overlooked for sentiment analysis advancements. Arabizi is an informal transcription of the spoken dialectal Arabic in Latin script used for social texting. It is known to be common among the Arab youth, yet it is overlooked in efforts on Arabic sentiment analysis for its linguistic complexities. As to Arabic, Arabizi is rich in inflectional morphology, but also codeswitched with English or French, and distinctively transcribed without adhering to a standard orthography. The rich morphology, inconsistent orthography, and codeswitching challenges are compounded together to have a multiplied effect on the lexical sparsity of the language, where each Arabizi word becomes eligible to be spelled in many ways, that, in addition to the mixing of other languages within the same textual context. The resulting high degree of lexical sparsity defies the very basics of sentiment analysis, classification of positive and negative words. Arabizi is even faced with a severe shortage of data resources that are required to set out any sentiment analysis approach. In this thesis, we tackle this gap by conducting research on sentiment analysis for Arabizi. We addressed the sparsity challenge by harvesting Arabizi data from multi-lingual social media text using deep learning to build Arabizi resources for sentiment analysis. We developed six new morphologically and orthographically rich Arabizi sentiment lexicons and set the baseline for Arabizi sentiment analysis on social media

Kuwaiti Arabic: A Socio-Phonological Perspective

Diglossia manifests itself on various linguistic levels, one of which is phonological. It poses a linguistic ‘struggle’ for speakers in the Arab world through the functional distribution that exists between the Arabic language and its varieties. This is the main drive behind diglossia. These varieties are part of the same language; hence, the term ‘diglossic-switching’ is employed when describing the alternation of speakers from one level to another. The extreme functional dichotomy in treating diglossia, such as that of Ferguson (1959) High Level and Low Level has since been replaced with a more flexible and realistic interpretation, whereby the speech situation is to be seen as one of continuum constituting a gradient of speech levels co-existing between the two extreme poles: Modern Standard Arabic (H or acrolect) and the colloquial (L or basilect). First, this study examines diglossic switching in Kuwaiti Arabic along four main dialectal phonological variables. These are [č], [g], [j], and [y]. The occurrences of each of the four phonological variables are correlated concurrently with four sociolinguistic variables (age, gender, religious affiliation, and area~origin) and six recording groups (Duwāniyya ‘social gathering’ Group Observation, Semi-Structured Interview, Political Show, Kuwait National Assembly, and Xuṭba ‘religious sermon’) to which the respondents belong. A distribution and frequency analysis shows that there is a tight, dependant relation between the production of the dialectal features and sociological/recording groups. Further, a correlational and multivariate analysis shows that only ‘age’ correlates significantly (negatively) with 3 out 4 of the dialectal markers. Following this, the study constructs and defines the mid-levels in the dialect, and identifies Kuwaiti Modern Arabic as the mesolect, being a product of constant admixture between Modern Standard Arabic and Kuwaiti Arabic in a process of diglossic-switching. It is established that that the speech situation in Kuwait is a multiglossic one, where seven overlapping levels exist in a functionally-distributed sociolinguistic relationship

Sīrat Banī Hilāl : introduction and notes to an Arab oral epic tradition

This poetic tradition which Egypt’s preeminent literary scholar, Ṭaha Hussein, recalls at the outset of his autobiography is one familiar through much of the Arab world—the sīra of the Banī Hilāl Bedouin tribe which chronicles the tribe’s massive migration from their homeland on the Arabian peninsula, their sojourn in Egypt, their conquest of North Africa, and their final defeat one hundred years later. The migration, the conquest, and the defeat are historical events which took place between the tenth and twelfth centuries A.D. From this skein of actual events Arabic oral tradition has woven a rich and complex narrative centered on a cluster of heroic characters. Time and again Bedouin warriors and heroines are pitted against the kings and princes of towns and cities. The individual destinies of the main actors are constantly in a fragile balance with the fate of the tribe itself. Finally, with the conquest of North Africa, the Banī Hilāl nomads themselves become rulers of cities, a situation which leads to the internal fragmentation of the tribe and their eventual demise. Stories of the Banī Hilāl tribe have been recorded from oral tradition since the fourteenth century in regions located across the breadth of the Arab world: from Morocco on the shores of the Atlantic to Oman on the edges of the Indian Ocean, and as far south into Africa as Nigeria, Chad, and the Sudan. It is quite probably the single most widespread and best documented narrative of Arabic oral literature. We know far more about the historical development, the geographical distribution, and the living oral tradition of Sīrat Banī Hilāl than, for example, the 1001 Nights, which owes its fame almost entirely to the enormous amount of attention it received in eighteenth- and nineteenth-century Europe.1 Though Sīrat Banī Hilāl is little known in the urban centers of the Arab world, in rural areas it has been recorded in prose, in poetry, and in song. The most famous versions are those sung by epic poets in Egypt who perform for nights at a time their versifi ed narrative while accompanying themselves on the rabāb (spike-fi ddle), the ṭār (large frame-drum) or western violin (held vertically on the knee). The folk sīra tradition is one familiar to most scholars of Arabic literature, but it has for the most part escaped the notice of epic scholars, folklorists, and anthropologists in the West. This is certainly due primarily to the dearth of translations into European languages and in particular into English. Over the past two decades, however, Sīrat Banī Hilāl has sparked new academic interest and even a few translations. This article, then, is intended as an introduction for non-Arabists to the tradition of, and recent scholarship on, Sīrat Banī Hilāl

Lexical Borrowings in Immigrant Speech: A Sociolinguistic Study of Ḥassāniyya Arabic Speakers in Medina (Saudi Arabia)

This study investigates lexical borrowings and the phonological processes associated with them as an outcome of the dialect contact situation in Medina (Saudi Arabia) between the Shanāqiṭa immigrant community, who immigrated to this holy city from Mauritania and who speak Ḥassāniyya Arabic, and the urban Hijazi community, who speak urban Hijazi Arabic. The study introduces to the reader the main phonological and morphological features of these two Arabic dialects and presents traditional and modern approaches towards lexical borrowings in Arabic. The present study adopts the quantitative sociolinguistic method which is widely used in sociolinguistic studies in order to analyse the speech of this immigrant community (focusing on borrowings from urban Hijazi Arabic), and correlates it with the social variables of age, educational attainment, ethnicity and gender. The study focuses on six phonological variables which are correlated with the social variables; these variables represent common phonological features which contrast both dialects. These phonological variables are divided into two groups: consonantal and vocalic variables. For the consonantal variables, the present study investigates the variation of three variables: de-affrication ([dʒ] → [ʒ]), lenition ([f] → [v]), and initial hamza dropping ([ʔ] → [Ø]). As for the vocalic variables, the research examines three variables: re-syllabification, consisting of initial [CV] and sequenced [CV.CV] → syncope, epenthesis and metathesis; diphthongisation: monophthongs → diphthongs; and vowel centralisation: (i), (u) → [ə]. The statistical data analysis reveals that age (generation) plays a central role in the phonological variation between the study participants when they borrow linguistic elements from urban Hijazi Arabic; ethnicity is the second most important factor. The analysis also shows that socio-cultural and socio-psychological factors facilitate the strong linguistic preservation of Ḥassāniyya Arabic by this immigrant community in Medina

Tunisian Theater at the Turn of the Century: Hammering the Same Nail in Jalila Baccar and Fadhel Jaïbi\u27s Theater

My dissertation investigates plays written and directed by Jalila Baccar and Fadhel Jaïbi--recognized as two of the most influential actor-director-playwright pair in contemporary Tunisian theater. This is the first research that addresses the drama of Baccar and Jaïbi, a partnership that spans almost forty years, and is arguably the most significant force in North African Theater. My study analyzes the evolution of Familia Productions, discovering how the role of Familia has changed in accordance with changing political situation, and how political changes have influenced the aesthetics of the theater, and has shifted the style from heavily symbolic to much more direct. In analyzing the ways in which Baccar and Jaïbi stage the resistance to oppression through plays, this study attempts to understand the thematic and aesthetic changes from the 1970s to the present time. This thesis demonstrates how all the Familia plays are political and Brechtian in the sense that these plays force the viewer to react to strangeness and metatheatricality. This dissertation asserts that studying Baccar and Jaïbi\u27s theater is useful to understand the interconnections between politics and theater in Tunisia. Even while the subject of this study is specifically--national Tunisian theater--and emphasizes the national (political, social, cultural) contexts of the drama, it also demonstrates the importance of a comparative approach, the permeability of national borders, and the interconnections with other literatures, especially the ways in which influence flows in both directions. Chapter 3, for example, suggests how writers and film as well as theater makers to represent overarching themes of political and societal oppression have long used mental disease. The dissertation is supplemented with eight appendices, including interviews I am fortunate to have been able to conduct with both playwright/actress Baccar and her husband, theater director Jaïbi. I also included an appendix that illustrates the presentation of historical plays during the colonial rule, portraying Abd-ar-Rahman an-Nasser (1944). This figure shows the interest of the Tunisian troupe al-Kawkab at-Tamthili in portraying a great historical figure of the Islamic civilization during their time in Andalusia. Further appendices are included to provide a better understanding of the Lettre d\u27un comédien (Letter of a comedian, 1741), which is an important document that tells a remarkable anecdote about the early initiation of the Ottoman ruler of Tunisia and his court into French theater when a French troupe was captured by Tunisian pirates. Another appendix considers an adaptation of Molière, Le Bourgeois gentilhomme (The Bourgeois Gentleman, 1670) by the Tunisian theater director Ali Ben `Ayed who directed The Marshal Ammar in 1969. Although Ben `Ayed\u27s play is an adaptation of Molière\u27s Le Bourgeios gentilhomme, it is original in the sense that it portrays--within a local Tunisian context--social satire in a rural community where the inhabitants aspire to hold titles and ranks similar to those of the urban elite. This play opposes the contrived divisions between social classes. The last two appendices--a chart and a photo--offer a summary of key Theater troupes that contributed to the evolution of Baccar and Jaïbi\u27s theater and a photo that depicts a scene in Tsunami (2013), Baccar and Jaïbi\u27s latest play