The ChildPoeDE Corpus: 1082 German Children’s Poems for Computational and Experimental Studies on Poetry Reception

We introduce childPoeDE: the first corpus of German poetry for children comprising poems which are still read today and cover a wide range of topics and authors. ChildPoeDE contains poem texts and both poem-level and token-level metadata. Poem-level metadata includes information about the anthologies and authors, quantitative text features, rhyme and lexical richness. Token-level metadata covers word length, position and frequency, parts-of-speech, onomatopoeia and sonority. This corpus can be used for computational text analysis, but also as a source for stimulus material in experimental studies. The corpus metadata is freely accessible via Zenodo. The poem texts are protected by copyright

The OpenScore Lieder Corpus

MEC 2021 BEST POSTER AWARDThe OpenScore Lieder Corpus is a collection of over 1,200 nineteenth century songs encoded by a dedicated team of mostly volunteers over several years. Having reported on the initial phase, motivations, design, and community-oriented aspects of the project before [3], we present here the first, stable, large-scale release of this corpus specifically designed for MIR researchers, complete with comprehensive, structured, linked metadata. The corpus continues to be available under the open CC0 licence and represents a compelling dataset for a range of MIR tasks, not least given its unusual balance of large-scale with high-quality encoding, and of diversity (songs by over 100 composers, from many countries, and in a range of languages) with unity (centred on the nineteenth-century lieder tradition)

The ChildPoeDE Corpus: 1082 German Children’s Poems for Computational and Experimental Studies on Poetry Reception

We introduce childPoeDE: the first corpus of German poetry for children comprising poems which are still read today and cover a wide range of topics and authors. ChildPoeDE contains poem texts and both poem-level and token-level metadata. Poem-level metadata includes information about the anthologies and authors, quantitative text features, rhyme and lexical richness. Token-level metadata covers word length, position and frequency, parts-of-speech, onomatopoeia and sonority. This corpus can be used for computational text analysis, but also as a source for stimulus material in experimental studies. The corpus metadata is freely accessible via Zenodo. The poem texts are protected by copyright

Sensing Sounding: Close Listening To Experimental Asian American Poetry

This dissertation examines a selection of Asian American experimental poetries from the 1960’s to the present day through the sensory paradigms of avant-garde aesthetic discourse. By approaching both the poem and racial formation in sonic terms, this dissertation project argues that rethinking the sensory as well as the political ramifications of sounding can help us recuperate Asian American poets’ often overlooked experimentation with poetic form. Specifically, I read the works of Marilyn Chin, Theresa Cha, John Yau, Cathy Park Hong, Mei-mei Berssenbrugge, and Tan Lin. By tracing the historical conditions of Orientalist objectification and re-interrogating postmodern theories of sight, sound, and the body, I seek to show how these poets’ invocation of sonic paradigms reworks those theories and to broaden our critical vocabulary for writing about sound in poetry

An analysis of persuasive elements in the English of advertisements in newspapers in Ghana

Text in EnglishAdvertising is a genre of mass media communication which unearths the exceptional qualities of products and services in a persuasive fashion. It is also a form of marketing communication through which business organizations inform the general public about new or improved commercial endeavors. Advertising in modern time comprises varied component parts (visual imagery, graphic and color designs, print and auditory techniques.); however, language plays an indispensable role in the transmission of the message. Language has an immense influence on human beings and the way they behave. The language of advertising influences the reasoning, thinking, feeling and the general attitude of the audience. Copywriters, like poets, choose their words carefully in order to achieve a particular rhetorical effect. They use language in such a way that they attract attention, arouse interest or desire and create need. Language forms an integral part of advertisements. The current study focused on persuasive elements in the English employed in advertisements in newspapers in Ghana. The study investigated the extent to which Aristotle’s three artistic proofs (logos, pathos and ethos), figures of speech and grammatical elements in the English of advertisements in the Ghanaian newspapers were employed by copywriters for persuasive effect. The current study was underpinned by three theories, namely, Aristotle’s Rhetorical Theory, Conventional Figurative Language Theory and the Standard Theory of Generative Grammar. These theories lent support to the three thematic trends of the study. The qualitative research design was employed given the interpretive nature of the analysis of the corpus. The current study did not involve human subjects as data sources because the corpus was from written documents. The purposive sampling method was employed owing to the subjective nature of the process of data collection. The qualitative content analysis approach was adopted as the analytical framework for the study. This made it possible for the coding of categories of the textual data based on the themes, patterns and trends that emerged. The findings of the research revealed that copywriters in the Ghanaian newspapers employed Aristotle’s three artistic proofs, figures of speech and grammatical elements in the English of advertisements for persuasive effect.Linguistics and Modern Language

Congruences with the past.On Vladimir Nabokov\u2019s self-translated verses

L\u2019elaborato di tesi proposto si incentra sullo studio del processo traduttivo adottato dall\u2019autore russo Vladimir Nabokov (1899-1977) per la propria produzione letteraria in versi. Pi\uf9 noto per la sua prosa, Nabokov fu anche poeta e traduttore di testi altrui e propri, attivit\ue0 queste che il presente studio intende riportare all\u2019attenzione del lettore. L\u2019elaborato \ue8 stato composto in lingua inglese per rendere l\u2019analisi testuale pi\uf9 efficace, evitando di appesantire ulteriormente la comparazione con il tramite, probabilmente ingombrante, di una terza lingua. Autore \u201cextraterritoriale,\u201d Nabokov condensa nella propria audace pratica autotraduttiva l\u2019interesse per la mediazione interlinguistica e il cammino spericolatamente funambolico tra cultura russa e occidentale. Muovendo da Poems and Problems, testo rimasto all\u2019ombra di altri ben pi\uf9 noti suoi capolavori, il presente lavoro di analisi affronta lo studio della traduzione che Nabokov ha realizzato, nel corso della sua lunga carriera letteraria, dei propri componimenti poetici dal russo all\u2019inglese, ampliando la trattazione ad altri suoi testi, inseriti opportunamente nel pi\uf9 ampio contesto della letteratura russa, di cui costantemente lo scrittore si nutre. Individuati il criterio retorico e il metodo della close reading, entrambi radicati nell\u2019analisi letteraria di stampo formalista e illustrati nell\u2019Introduzione nonch\ue9 nella prima analisi testuale dedicata ai versi di Do\u17ed\u2019 proletel / The Rain Has Flown, si procede attraverso i quattro capitoli incentrati sullo studio di specifiche figure retoriche quali strumenti di composizione poetica originale e coordinate del processo autotraduttivo. Nel primo capitolo, Ina\u10de govorja / In Other Words, viene discusso l\u2019espediente letterario dell\u2019intertestualit\ue0 in forma citazionale ed ecfrastica come motivo di radicamento nella tradizione di appartenenza e germinazione di nuovi orizzonti interpretativi. \uc8 questo il caso di E\u161\u10de bezmolvstvuju / I Still Keep Mute, di tjut\u10deviana memoria. In L\u2019Inconnue de la Seine \ue8 invece la descrizione di un comune oggetto decorativo a fornire il pretesto per la rilettura di Aleksandr Blok, mentre Snimok / Snapshot riflette sul concetto di speculazione in quanto approccio gnoseologico. Il secondo capitolo, Prozra\u10dnye ve\u161\u10di / Transparent Things, analizza l\u2019uso dei metasememi e, pi\uf9 in particolare, di sinestesia e sineddoche quali meccanismi di apertura verso bispazialit\ue0 e anticonvenzionalismo. Tikhij \u161um / Soft Sound sfrutta lo spostamento sinestetico per rievocare la sensazione di disorientamento causata dall\u2019emigrazione. L\u2019occhio sineddochicamente isolato di Oko / Oculus offre spunti di riflessione sul punto di vista, anche in ambito narrativo. Con la sua combinazione di parzialit\ue0 e sintesi, Nepravil\u2019nye jamby / Irregular Iambics propone invece un pi\uf9 maturo studio, in nuce, della materia prosodica. Nell\u2019Interludio l\u2019eccentricit\ue0 del Bezumec / The Madman funge da tramite tra la prima parte, dedicata alla visione tetica e all\u2019approccio costruttivo del pensiero di Vladimir Nabokov, e la seconda, incentrata piuttosto sulla concezione antitetica del reale e votata dunque allo sconfinamento oltre i limiti della logica e del logos stesso. Nel presente capitolo si propone inoltre il concetto di inter-trope, consistente in una figura retorica interstiziale generata a partire dal confronto contestuale di source e target text. In S drugoj storony / Then Again si procede all\u2019analisi dei metalogismi tramite i quali Nabokov delinea lo spazio straniante del potustoronnost\u2019, distillato della propria esperienza esilica e del proprio ibridismo linguistico-culturale. Antitesi e ambiguit\ue0 polisemica caratterizzano rispettivamente Nomer v gostinice / Hotel Room e Formula / The Formula, entrambi incentrati sull\u2019esperienza della trasfigurazione, ulteriormente esplorata in K Kn. S. M. Ka\u10durinu / To Prince S. M. Kachurin, in cui lo straniamento, da motivo tematico, affiora anche alla superficie semantica del testo. Nell\u2019ultimo capitolo, Molchi / Speak Not, si considera l\u2019uso della reticenza quale mezzo di superamento dei confini imposti dalla parola comune e dalle convenzioni linguistiche. Le silenti allusioni e il finale inconcluso di Neokon\u10dennyy \u10dernovik / An Unfinished Draft sono veicolo espressivo della voce nabokoviana nel contesto del dibattito letterario interno alla diaspora russa del Novecento. In Kakoe sdelal ja durnoe delo / What Is the Evil Deed Nabokov torna al suo noto Lolita, pur non menzionandolo nel corpo del testo e affidando al podtekst di Boris Pasternak la responsabilit\ue0 dei propri intenti. O praviteljakh / On Rulers, infine, contraddice la presunta indole apolitica di Nabokov mediante una scrittura parodica che consegna al lettore attento gli strumenti necessari per colmare le assenze di cui sono disseminati i versi. Con la lettura di Slava / Fame si giunge alle dovute conclusioni, rintracciando i motivi e gli strumenti retorici ricorrenti nei versi di Nabokov e notando il potenziamento o viceversa l\u2019indebolimento che gli stessi subiscono in fase autotraduttiva. Una fugace menzione, in appendice, della Linguistica computazionale rivolge un invito al lettore contemporaneo a fidarsi del testo, che \ue8, al di l\ue0 di ogni progresso e tecnologia, fonte prima e ultima di significato

Language and metaphor in postmodern architectural meaning: an interpretative model

The thesis aims to establish an interpretative model of, or mode of response to, postmodern and in particular, poststructuralist architecture. The existing lacuna of interpretation in this area is the result of the disfiguring, but ubiquitous, 'language of architecture' formulation which is formally challenged here as part of the construction of a model of interpretation. Interpretation as a key term is not only dealt with specifically in Chapter Five, but is also illuminated for example by the discussion in Chapter Two of signification and the complex relationship between visual image and language, since language has to emerge holistically as an aspect of architectural meaning. The thesis is divided into two parts. Part One comprises four theoretical chapters which are not necessarily 'about' architecture as such, but which provide the theoretical components of a model of interpretation. It needs to be clearly stated that this model is not epistemologically exclusive or absolute in any sense, but is only one among many other interpretative possibilities. The first chapter deals with methodology and a literature review. Chapter Two establishes the importance of signification and the sign and the semiotics of image and word. Chapter Three deals with ideas of what the postmodern might mean since the architecture principally dealt with is poststructuralist. The fulcrum moment of schism between Modernism and Postmodemism around 1960 is discussed, as is the vitally important allegorical nature of the postmodern. Chapter Four looks at the philosophy of language and meaning since language is indispensably a part of postmodern architectural meaning. Chapter Five discusses interpretation within the development of literary theory which must underpin the reading of buildings as the source of a coherent account of interpretation in general as well as particular architectural meaning. Part Two contains two chapters. Both are specifically about architecture and how it might be read in postmodern and poststructuralist context. The first, Chapter Six, deals with the trace of the development of postmodern architecture as both an aspect of Modernist architecture and a subversive imperative against it. Chapter Seven, the final chapter, puts into practice in an almost Leavisite way the interpretative stances established in Part One. Major works by poststructuralist architects are read in terms of metaphor, especially visual metaphor, rhetoric and allegory. From Part One to Part Two is from theory to practice. The thesis concludes by suggesting that architectural poststructuralist semantics and interpretation can only be deepened by dispensing with 'the language of architecture' in favour of language as emergent from architecture; the language of architecture does not exist

Ars Edendi Lecture Series

This is the fifth and final volume of lectures on textual criticism and classical philology - broadly understood - given within the framework of the Ars edendi research programme (2008-2015). ;Two of the six papers in this volume stem from a 2015 workshop on editorial theory and method, the theme of which dealt with fragments and the writing of commentaries. As regards the former, S. Douglas Olson problematizes the creation and continuation of scholarly knowledge concerning texts that have only come down to us in a fragmentary state, emphazising the challenges and pitfalls that lay in wait for the editor. Benjamin Millis offers a nuanced homage and apology for the traditional text edition with a scholarly commentary, especially underscoring its importance as a connective pathway between text and reader as well as the impetus it can give to scholarly research. ;The other four lectures were given at the concluding conference of the Ars edendi programme, held in August 2016. In a case study Cynthia Damon shares her reflections on how to digitally edit Pliny’s Natural History in a form that will provide this work’s rich reception history and at the same time its extensive use of sources, many of which are now lost. The digital component is also prominent in Odd Einar Haugen’s contribution in which he shows that digital mark-up is also an editorial enterprise and how it can be useful for the textual scholar. Dorothea Weber gives an insider’s view of the Corpus Scriptorum Ecclesiasticorum Latinorum, an editorial project on-going since 1864, and especially how improved cataloguing has led to numerous discoveries of texts by St. Augustine. As a conclusion to the volume, David Greetham, one of the founders of the Society for Textual Scholarship, reflects on three different methods for editing texts that have undergone various degrees of rescription, namely the oeuvres of Eriugena, Coleridge, and Eliot