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Popular culture is always in process; its meanings can never be identified in a text, for texts are activated, or made meaningful, only in social relations and in intertextual relations. This activation of the meaning potential of a text can occur only in the social and cultural relationship into which it enters. (Fiske, 1991a: 3)
There is a caricature of Marcel Proust in which the despairing writer is consoled by a friend saying, 'Aber, aber, mon cher Marcel, nun versuchen Sie sich doch zu erinnern, wo Sie die Zeit verloren haben.'
Literature in general, not only A La Recherche du Temps Perdu, deals with a different form of memory than that of mnemonics, in which the hints of places lead to a retrieval of what has been stored there before. Nevertheless it is difficult to pinpoint the criteria that make this difference. How does literature transcend the technologically limited sense of memory in terms of a storage and retrieval system? ...
When the concept of the auteur was coined in the 1950s and 1960s, it was an initiative to clarify the obscure matters of authorship in cinema. Because a film must necessarily be a collective work, understood as the result of a large number of creative contributions, it was often unclear who the decisive power behind a certain film was, who contributed the "distinctive quality". The control will usually belong to the director, the producer or the star (or all three in combination), but what singles out a given film could also come from the cinematographer, the scriptwriter, from the author of an adapted literary work, or from traditions in the studio or in the genre. Nothing can be taken for granted about a film's authorship, it can only be decided through a thorough analysis of each film's production process, an analysis that, in most cases, will be impossible to make. ...
As editor of the next iteration of the Köchel Catalogue, I have to deal with the current (sixth) edition’s Appendix C, devoted to "Doubtful and Misattributed Works." My goal is to reduce the potentially vast dimensions of that appendix to only those works for which some connection to Mozart cannot be ruled out. In the decades since 1964, when the current edition of Köchel was published, many of the works listed in Appendix C have been convincingly attributed to other composers. Other works therein can confidently be dismissed as never having had any meaningful connection to Mozart. Yet even after removing the reattributed and trivially misattributed works from the appendix, we are left with a handful of works that may possibly have had something to do with Mozart, even if clear evidence one way or the other remains elusive. One must, of course, be cautious in removing questionable and doubtful works from the catalogue, as the present case-study will illustrate. The work under consideration, catalogued as K6 Anh. C 9.07, is an unaccompanied piece for three or four voices with the text "Venerabilis barba capucinorum." ...
This paper describes the creation and preparation of TUSNELDA, a collection of corpus data built for linguistic research. This collection contains a number of linguistically annotated corpora which differ in various aspects such as language, text sorts / data types, encoded annotation levels, and linguistic theories underlying the annotation. The paper focuses on this variation on the one hand and the way how these heterogeneous data are integrated into one resource on the other hand.
We investigate methods to improve the recall in coreference resolution by also trying to resolve those definite descriptions where no earlier mention of the referent shares the same lexical head (coreferent bridging). The problem, which is notably harder than identifying coreference relations among mentions which have the same lexical head, has been tackled with several rather different approaches, and we attempt to provide a meaningful classification along with a quantitative comparison. Based on the different merits of the methods, we discuss possibilities to improve them and show how they can be effectively combined.
The Conference on Computational Natural Language Learning features a shared task, in which participants train and test their learning systems on the same data sets. In 2007, as in 2006, the shared task has been devoted to dependency parsing, this year with both a multilingual track and a domain adaptation track. In this paper, we define the tasks of the different tracks and describe how the data sets were created from existing treebanks for ten languages. In addition, we characterize the different approaches of the participating systems, report the test results, and provide a first analysis of these results.
This report explores the question of compatibility between annotation projects including translating annotation formalisms to each other or to common forms. Compatibility issues are crucial for systems that use the results of multiple annotation projects. We hope that this report will begin a concerted effort in the field to track the compatibility of annotation schemes for part of speech tagging, time annotation, treebanking, role labeling and other phenomena.
The retreat of BE as perfect auxiliary in the history of English is examined. Corpus data are presented showing that the initial advance of HAVE was most closely connected to a restriction against BE in past counterfactuals. Other factors which have been reported to favor the spread of HAVE are either dependent on the counterfactual effect, or significantly weaker in comparison. It is argued that the effect can be traced to the semantics of the BE perfect, which denoted resultativity rather than anteriority proper. Related data from other older Germanic and Romance languages are presented, and finally implications for existing theories of auxiliary selection stemming from the findings presented are discussed.