Computing the Affective-Aesthetic Potential of Literary Texts

In this paper, we compute the affective-aesthetic potential (AAP) of literary texts by using a simple sentiment analysis tool called SentiArt. In contrast to other established tools, SentiArt is based on publicly available vector space models (VSMs) and requires no emotional dictionary, thus making it applicable in any language for which VSMs have been made available (>150 so far) and avoiding issues of low coverage. In a first study, the AAP values of all words of a widely used lexical databank for German were computed and the VSM’s ability in representing concrete and more abstract semantic concepts was demonstrated. In a second study, SentiArt was used to predict ~2800 human word valence ratings and shown to have a high predictive accuracy (R2 > 0.5, p < 0.0001). A third study tested the validity of SentiArt in predicting emotional states over (narrative) time using human liking ratings from reading a story. Again, the predictive accuracy was highly significant: R2adj = 0.46, p < 0.0001, establishing the SentiArt tool as a promising candidate for lexical sentiment analyses at both the micro- and macrolevels, i.e., short and long literary materials. Possibilities and limitations of lexical VSM-based sentiment analyses of diverse complex literary texts are discussed in the light of these results

Crowdsourcing a Word-Emotion Association Lexicon

Even though considerable attention has been given to the polarity of words (positive and negative) and the creation of large polarity lexicons, research in emotion analysis has had to rely on limited and small emotion lexicons. In this paper we show how the combined strength and wisdom of the crowds can be used to generate a large, high-quality, word-emotion and word-polarity association lexicon quickly and inexpensively. We enumerate the challenges in emotion annotation in a crowdsourcing scenario and propose solutions to address them. Most notably, in addition to questions about emotions associated with terms, we show how the inclusion of a word choice question can discourage malicious data entry, help identify instances where the annotator may not be familiar with the target term (allowing us to reject such annotations), and help obtain annotations at sense level (rather than at word level). We conducted experiments on how to formulate the emotion-annotation questions, and show that asking if a term is associated with an emotion leads to markedly higher inter-annotator agreement than that obtained by asking if a term evokes an emotion

An Empirical Analysis of the Role of Amplifiers, Downtoners, and Negations in Emotion Classification in Microblogs

The effect of amplifiers, downtoners, and negations has been studied in general and particularly in the context of sentiment analysis. However, there is only limited work which aims at transferring the results and methods to discrete classes of emotions, e. g., joy, anger, fear, sadness, surprise, and disgust. For instance, it is not straight-forward to interpret which emotion the phrase "not happy" expresses. With this paper, we aim at obtaining a better understanding of such modifiers in the context of emotion-bearing words and their impact on document-level emotion classification, namely, microposts on Twitter. We select an appropriate scope detection method for modifiers of emotion words, incorporate it in a document-level emotion classification model as additional bag of words and show that this approach improves the performance of emotion classification. In addition, we build a term weighting approach based on the different modifiers into a lexical model for the analysis of the semantics of modifiers and their impact on emotion meaning. We show that amplifiers separate emotions expressed with an emotion- bearing word more clearly from other secondary connotations. Downtoners have the opposite effect. In addition, we discuss the meaning of negations of emotion-bearing words. For instance we show empirically that "not happy" is closer to sadness than to anger and that fear-expressing words in the scope of downtoners often express surprise.Comment: Accepted for publication at The 5th IEEE International Conference on Data Science and Advanced Analytics (DSAA), https://dsaa2018.isi.it

Generating Music from Literature

We present a system, TransProse, that automatically generates musical pieces from text. TransProse uses known relations between elements of music such as tempo and scale, and the emotions they evoke. Further, it uses a novel mechanism to determine sequences of notes that capture the emotional activity in the text. The work has applications in information visualization, in creating audio-visual e-books, and in developing music apps

Word Affect Intensities

Words often convey affect -- emotions, feelings, and attitudes. Lexicons of word-affect association have applications in automatic emotion analysis and natural language generation. However, existing lexicons indicate only coarse categories of affect association. Here, for the first time, we create an affect intensity lexicon with real-valued scores of association. We use a technique called best-worst scaling that improves annotation consistency and obtains reliable fine-grained scores. The lexicon includes terms common from both general English and terms specific to social media communications. It has close to 6,000 entries for four basic emotions. We will be adding entries for other affect dimensions shortly

Towards a Corpus of Historical German Plays with Emotion Annotations

In this paper, we present first work-in-progress annotation results of a project investigating computational methods of emotion analysis for historical German plays around 1800. We report on the development of an annotation scheme focussing on the annotation of emotions that are important from a literary studies perspective for this time span as well as on the annotation process we have developed. We annotate emotions expressed or attributed by characters of the plays in the written texts. The scheme consists of 13 hierarchically structured emotion concepts as well as the source (who experiences or attributes the emotion) and target (who or what is the emotion directed towards). We have conducted the annotation of five example plays of our corpus with two annotators per play and report on annotation distributions and agreement statistics. We were able to collect over 6,500 emotion annotations and identified a fair agreement for most concepts around a ?-value of 0.4. We discuss how we plan to improve annotator consistency and continue our work. The results also have implications for similar projects in the context of Digital Humanities