86 research outputs found

    Emotion Analysis and Dialogue Breakdown Detection in Dialogue of Chat Systems Based on Deep Neural Networks

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    In dialogues between robots or computers and humans, dialogue breakdown analysis is an important tool for achieving better chat dialogues. Conventional dialogue breakdown detection methods focus on semantic variance. Although these methods can detect dialogue breakdowns based on semantic gaps, they cannot always detect emotional breakdowns in dialogues. In chat dialogue systems, emotions are sometimes included in the utterances of the system when responding to the speaker. In this study, we detect emotions from utterances, analyze emotional changes, and use them as the dialogue breakdown feature. The proposed method estimates emotions by utterance unit and generates features by calculating the similarity of the emotions of the utterance and the emotions that have appeared in prior utterances. We employ deep neural networks using sentence distributed representation vectors as the feature. In an evaluation of experimental results, the proposed method achieved a higher dialogue breakdown detection rate when compared to the method using a sentence distributed representation vectors

    The Processing of Emotional Sentences by Young and Older Adults: A Visual World Eye-movement Study

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    Carminati MN, Knoeferle P. The Processing of Emotional Sentences by Young and Older Adults: A Visual World Eye-movement Study. Presented at the Architectures and Mechanisms of Language and Processing (AMLaP), Riva del Garda, Italy

    Pragmatic Approaches to Drama

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    This volume collects papers on pragmatic perspectives on ancient theatre. Scholars working on literature, linguistics, theatre will find interesting insights on verbal and non-verbal uses of language in ancient Greek and Roman Drama. Comedies and tragedies spanning from the 5th century B.C.E. to the 1st century C.E. are investigated in terms of im/politeness, theory of mind, interpersonal pragmatics, body language, to name some of the approaches which afford new interpretations of difficult textual passages or shed new light into nuances of characterisation, or possibilities of performance. Words, silence, gestures, do things, all the more so in dramatic dialogues on stage. Readership: Academics and advanced students interested in ancient Greek and Roman drama, historical pragmatics, drama and performance, linguistics, narratology, literary interpretation of dramatic genres

    Proceedings of the Seventh Italian Conference on Computational Linguistics CLiC-it 2020

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    On behalf of the Program Committee, a very warm welcome to the Seventh Italian Conference on Computational Linguistics (CLiC-it 2020). This edition of the conference is held in Bologna and organised by the University of Bologna. The CLiC-it conference series is an initiative of the Italian Association for Computational Linguistics (AILC) which, after six years of activity, has clearly established itself as the premier national forum for research and development in the fields of Computational Linguistics and Natural Language Processing, where leading researchers and practitioners from academia and industry meet to share their research results, experiences, and challenges

    The Literariness of Media Art

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    “Language can be this incredibly forceful material—there’s something about it where if you can strip away its history, get to the materiality of it, it can rip into you like claws” (Hill in Vischer 1995, 11). This arresting image by media artist Gary Hill evokes the nearly physical force of language to hold recipients in its grip. That power seems to lie in the material of language itself, which, with a certain rawness, may captivate or touch, pounce on, or even harm its addressee. Hill’s choice of words is revealing: ‘rip into’ suggests not only a metaphorical emotional pull but also the literal physicality of linguistic attack. It is no coincidence that the statement comes from a media artist, since media artworks often use language to produce a strong sensorial stimulus. Media artworks not only manipulate language as a material in itself, but they also manipulate the viewer’s perceptual channels. The guises and effects of language as artistic material are the topic of this book, The Literariness of Media Art

    The challenge of visuality for electronic literature: Conference panel: The medium

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    Whilst there may be aesthetic tropes within digital media, there is no universally accepted authority within contemporary culture nor is there an easy mutual acceptance of what is “right and proper” or indeed legitimate outside the now virtue of being popular and well followed. Indeed the now bodily distanced and disinhibited digital citizen frequently demonstrates a palpable distain for the elite and pretentious. Considering this, any community with Literature in its name may have an identity problem; literariness still pertains to an elevated quality of artistic or intellectual merit and is thus counter to popular cultural production. In addition, mainstream culture has successfully commoditized many counter-cultural communities. Electronic Literature has arguably not been through such commodification processes, and the question of interest is why not? To that extent this paper seeks to explore possible answers. Investigating the broader shifts towards increased visuality within modern culture the paper will discuss and revisit the discourses on the power structures of the gaze, consider spectatorship’s dominance over readership and interaction and co-creation and the function of the image within contemporary narrative forms inside and outwith Electronic Literature. The paper will also consider the politics implied in the move to open access, the fluid distribution of often context-less “images”, how this relates to prior notions of literary publishing, and whether this manifests as an opportunity or a challenge to Electronic Literature’s dissemination. Lastly and toward a conclusion, the paper will propose that if we consider the tradition of literature as one that is driven by the expression of human experience, where in today’s context literary “traditions” are not longer built around specific commonalities of form (i.e. predominately verbal language) but rather subject matter, themes and worldviews then the questions of identity and of “literariness” can evaporate to make space for fuller participation in the ocular freedoms in contemporary culture

    Pragmatic Approaches to Drama

    Get PDF
    This volume collects papers on pragmatic perspectives on ancient theatre. Scholars working on literature, linguistics, theatre will find interesting insights on verbal and non-verbal uses of language in ancient Greek and Roman Drama. Comedies and tragedies spanning from the 5th century B.C.E. to the 1st century C.E. are investigated in terms of im/politeness, theory of mind, interpersonal pragmatics, body language, to name some of the approaches which afford new interpretations of difficult textual passages or shed new light into nuances of characterisation, or possibilities of performance. Words, silence, gestures, do things, all the more so in dramatic dialogues on stage. Readership: Academics and advanced students interested in ancient Greek and Roman drama, historical pragmatics, drama and performance, linguistics, narratology, literary interpretation of dramatic genres

    Knowledge elicitation, semantics and inference

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    Towards an anthropology of literature: the magic of hybrid fictions

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    Anthropology and literary criticism can interact fruitfully in the investigation of theoretical, general and specific issues concerning literature. Anthropological concepts of magic and ritual are useful to account for those fictions which defy neat labels and sit at the crossroad between the fantastic and the mimetic impulses. Furthermore, the reading process of such fictions can be interpreted as a liminal experience, whereby the reader’s consciousness is ritualized. Adopting a phenomenological stance and a socio-anthropological methodology, the thesis presents the author’s auto-ethnography of reading, also integrating the latest findings of cognitive linguistics and psychology of fiction into the theoretical reflection. Other conceptual tools, such as ideas concerning performative language, the hero quest and epiphany, metaphor and symbolism, are elaborated in order to illustrate the reading of ‘hybrid’ fictions, and how the reader is actively involved in the process. Moreover, three sample novels are analysed in the light of concepts of magic from a thematic and structural point of view, as texts which posit the issue of the de-reification of the real and of the imagination itself as a critique of the discourses of modernity. Overall the thesis supports an ecological view of the (literary) imagination, conceived as a relational process whereby nature and culture are seen as co-extensive and not in opposition to each other
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