Intertextuality Theory and Translation
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And Others TITLE on the Uses of the Computer for Content Analysis in Educational Research
DOCUMENT RESUME ED 084 281 TM 003 289 AUTHOR Hiller, Jack H.; And Others TITLE On the Uses of the Computer for Content Analysis in Educational Research. PUB DATE Feb 73 NOTE 21p.; Revised version of paper presented at national conference of Association for Computing Machinery (San Francisco, August 1969) EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS Audiovisual Aids; Classification; *Computer Programs; *Content Analysis; Educational Research; *Measurement Instruments; *Scoring; Social Sciences; *Structural Analysis; Technical Reports ABSTRACT Current efforts to take advantage of the special virtues of the computer as an aid in text analysis are described. Verbal constructs, category construction, and contingency analysis are discussed and illustrated. Mechanical techniques for reducing human labor when studying large quantities of verbal data have been sought at an increasing rate by researchers in the behavioral sciences. Whatever the purpose of research, if it is to have a scientific character, ti must involve an attempt to reduce natural language data, by formal rules, to measures reflecting theoretically relevant properties of the text, its source, or its audience effects. At the present time, there is no one theory or method dominating the field of natural language analysis. Although much work is currently being expended to implement a finite set of rules on the computer, little has been accomplished that is directly useful to researchers in the social sciences. (Author/CK) A. e r-4 csJ U S DEPARTMENT OF HEALTH, EDUCATION & WELFARE NATIONAL INSTITUTE OF EDUCATION CO THIS DOCUMENT HAS BEEN REPRO oucccrExAcrLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN O ti NG IT POINTS OF VIEW OR OPINIONS STATED 00 NOT NECESSARILY REPRE SENT OFFICIAL NATIONAL INSTITUTE OF EDUCATION POSITION OR POLICY LiJ On the Uses of theComputer Research' ForContent Analysis in Educational Jack H. -
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Christos Kakalis In the Orality/Aurality of the Book Inclusivity and Liturgical Language Abstract This article examines the role of language in the constitution of a common identity through its liturgical use at the Eastern Orthodox church of St Andrew’s in Edinburgh, Scotland. Open to individuals who have relocated, the parish has a rather multination- al character. It is a place of worship for populations that consider Christian Orthodox culture part of their long-established collective identity and for recent converts. Based on ethnographic research, archival work and theoretical contextualisation, the article examines the atmospheric materiality of the written text as performed by the readers, the choir and the clergy. This soundscape is an amalgam of different kinds of reading: prose, chanted prose, chanting and antiphonic, depending the part of the Liturgy being read. The language of the book is performative: the choreography and its symbolisms perform the words of the texts and vice versa. Additionally, the use of at least four languages in every service and two Eastern Orthodox chanting styles in combination with European influences expresses in the most tangible way the religious inclusivity that has been carefully cultivated in this parish. Through closer examination of literary transformation processes, I demonstrate the role of liturgical language in the creation of communal space-times that negotiate ideas of home and belonging in a new land. Keywords Role of Language, Christian Orthodox Culture, Religious Books, Transnational Religious Community, Religious Soundscapes, Atmospheric Materiality, Performance, Belonging Biography Christos Kakalis holds a PhD in architecture from the Edinburgh School of Architecture and Landscape Architecture and is a Senior Lecturer in Architecture at the School of Ar- chitecture, Planning and Landscape of Newcastle University. -
109969 TESL Vol 25-1 Text
Inscribing Identity: Insights for Teaching From ESL Students’ Journals Jenny Miller Linguistic minority students in schools must acquire and operate in a second language while negotiating mainstream texts and content areas, along with negotiating an emerging new sense of social identity. This article presents jour- nal data from an Australian ethnographic study that explored the relationship between second-language use, textual practices in school, and the representation of identity. Such texts normally lie outside dominant school discourses, but for students they are a powerful means of negotiating identity and gaining vital language practice. For teachers journals provide critical insights into the experi- ences of their students and into their developing language competence. Les élèves qui forment une minorité linguistique à l’école doivent acquérir une langue seconde et fonctionner dans cette langue en même temps qu’ils assimilent de la matière académique dans la langue dominante et se construisent une nouvelle identité sociale. Cet article présente des données de journaux personnels provenant d’une étude ethnographique en Australie portant sur le rapport entre l’usage d’une langue seconde, les pratiques textuelles à l’école et la représentation de l’identité. Ce genre de textes ne fait habituellement pas partie du discours pédagogique dominant; pourtant, ces textes représentent pour les élèves un puissant moyen de négocier leur identité et de pratiquer leurs habiletés langa- gières. Les journaux personnels fournissent aux enseignants un aperçu impor- tant des expériences de leurs élèves et du développement de leurs compétences langagières. Introduction One of the most critical realities of contemporary education in a globalized world is the growing cultural, racial, and linguistic diversity in schools and the difficulties involved in educating and empowering vast numbers of students who do not speak the majority language. -
Reading Nico Nico Douga with Gerard Genette
Götz Bachmann, Metadata Project, Goldsmiths College, 4.8.08 Series: Nico Nico Douga Texts1, Nr 11 Reading Nico Nico Douga with Gerard Genette Inspired by the discussions with Takashiro-san, Hamano-san and Yoshikawa-san, I think it might be just about time to start and come forward with some of my own initial ideas, how an analysis of Nico Nico Douga could be pushed forward. What follows is of course radically preliminary, not only because I still know far too little about Nico Nico Douga, but also because it is only the very beginning of a theoretical analysis. One way into the analysis could be through the work of the French structuralist and literary theorist Gerard Genette, who wrote in the late 70ties and 80ties extensively about the relations that connect texts to other texts. Genette’s term for the multiplicity of the relations between texts is “transtextuality”, and you can read more about it in his works “Introduction a l’Architexte” (1979), “Palimpseste. La Litterature au second degree” (1982), and “Seuils” (1987) – the latter two are translated into German, and the last one, as “Paratexts” (1997), also into English. Genette develops in my opinion in these works a precise alternative to the more known ideas of Julia Kristeva on this topic. Attention: He uses his terms slightly different to her. 1 In this series of short and preliminary (!!) texts we publish first results of the Metadata Project’s ethnographic research on Nico Nico Douga. You can find more on http://www.goldsmiths.ac.uk/media-research-centre/project2.php and on our research blog: http://d.hatena.ne.jp/metagold/. -
United States Patent (19) 11 Patent Number: 5,930,754 Karaali Et Al
USOO593.0754A United States Patent (19) 11 Patent Number: 5,930,754 Karaali et al. (45) Date of Patent: Jul. 27, 1999 54 METHOD, DEVICE AND ARTICLE OF OTHER PUBLICATIONS MANUFACTURE FOR NEURAL-NETWORK BASED ORTHOGRAPHY-PHONETICS “The Structure and Format of the DARPATIMIT CD-ROM TRANSFORMATION Prototype”, John S. Garofolo, National Institute of Stan dards and Technology. 75 Inventors: Orhan Karaali, Rolling Meadows; “Parallel Networks that Learn to Pronounce English Text' Corey Andrew Miller, Chicago, both Terrence J. Sejnowski and Charles R. Rosenberg, Complex of I11. Systems 1, 1987, pp. 145-168. 73 Assignee: Motorola, Inc., Schaumburg, Ill. Primary Examiner David R. Hudspeth ASSistant Examiner-Daniel Abebe 21 Appl. No.: 08/874,900 Attorney, Agent, or Firm-Darleen J. Stockley 22 Filed: Jun. 13, 1997 57 ABSTRACT A method (2000), device (2200) and article of manufacture (51) Int. Cl. .................................................. G10L 5/06 (2300) provide, in response to orthographic information, 52 U.S. Cl. ............... 704/259; 704/258; 704/232 efficient generation of a phonetic representation. The method 58 Field of Search ..................................... 704/259,258, provides for, in response to orthographic information, effi 704/232 cient generation of a phonetic representation, using the Steps of inputting an Orthography of a word and a predetermined 56) References Cited Set of input letter features, utilizing a neural network that has U.S. PATENT DOCUMENTS been trained using automatic letter phone alignment and predetermined letter features to provide a neural network 4,829,580 5/1989 Church. 5,040.218 8/1991 Vitale et al.. hypothesis of a word pronunciation. 5,668,926 9/1997 Karaali et al. -
Exploring Transtextuality in Competitive Games and Esports
Playing Across Media: Exploring Transtextuality in Competitive Games and eSports Ben Egliston The University of Sydney Sydney, NSW, Australia [email protected] ABSTRACT The aim of this paper is to explore the synthesis of digital games and observatory media facilitated by eSports and the competitive play of games. Borrowing from Genette's work in the field of literary studies, as well as media and game studies research, I describe the crossmedia assemblage occurring in competitive games as transtextual. A particular focus is the quantitative analysis of play in Valve's Dota 2. Using publicly archived player statistics, I describe how the broadcast play of professionals has come to exist as a locus of game knowledge and an impetus for styles of play for many amateur players. I argue that players must negotiate both the traditional gamespace and the space of surrounding texts with which gameplay has become conflated. Conversely, I posit that transtextual systems are situationally reflexive, and amateur players can assert change in professional domains. In addition to the compositional analysis of the crossmedia videogame form, I explore the phenomenological implications of this assemblage, namely digital games' movement away from its common conceptualisation as leisure based activity. Keywords Games, eSports, Transtextuality, Intertextuality, Paratext INTRODUCTION The competitive play of digital games has come to represent a complex dialectic between texts, namely the game-proper and the surrounding array of observatory media. The growing pervasiveness of spectator platforms and observatory practice across the contemporary gaming landscape has been impactful in forcing a reformulation of what games as a medium fundamentally involve and demand. -
Download Tetra En.Pdf
TextTransformer 1.7.5 © 2002-10 Dr. Detlef Meyer-Eltz 2 TextTransformer Table of Contents Part I About this help 16 Part II Registration 18 Part III Most essential operation elements 21 Part IV Most essential syntax elements 23 Part V How to begin with a new project? 25 1 Practice................................................................................................................................... 27 Part VI Introduction 30 1 How................................................................................................................................... does the TextTransformer work? 30 2 Analysis................................................................................................................................... 30 3 Synthesis................................................................................................................................... 31 4 Regular................................................................................................................................... expressions 31 5 Syntax................................................................................................................................... tree 32 6 Productions................................................................................................................................... or non-terminal symbols 33 7 Productions................................................................................................................................... as functions 33 8 Four.................................................................................................................................. -
Investigating Film Algorithm Transtextuality in the Age of Database Cinema
Cristiano Poian – Investigating Film Algorithm V MAGIS Gradisca Spring School “Cinema and Contemporary Visual Arts II” Cristiano Poian, University of Udine Investigating Film Algorithm Transtextuality in the age of database cinema Today my lecture aims to explore some peculiar passing modalities, so to say some “transtextual and transmedial migrations” among traditional narrative cinema and a group of digital artworks, in the context of what Lev Manovich has defined the “era of database”, to demonstrate that the acts of transcription from the filmic form into new media forms (the passage from film to interactive text, software, videogame and so on) is quite always a research practice towards what I will soon define “the film algorithm”. More generally, I would like in these minutes to think about the concepts of remediation and transtextuality in the transition from the so called paradigm of narrative to the paradigm of database, questioning their functioning, using for this objective on the one hand some theoretical indications coming from Manovich’s reflections upon the database form, end on the other hand a recent theory by Ian Bogost about “Unit operations”. The works which will help me along this path are basically two: the Cinema Redux series by the british artist Brendan Dawes, which translates into static images a set of films, and The Battle of Algiers by the French artist and filmmaker Marc Lafia in collaboration with the Taiwanese new media artist Fang Yu Lin, an interactive work based on the original film by Gillo Pontecorvo. In different ways, and leading to different outputs (a series of static images in the case of Cinema Redux, an interactive online installation in the case of The Battle of Algiers), the two artworks well represent the modalities in which the so called new (digital) media deal with contents that come from traditional media, trying to RE-WRITE them in a way that is the most peculiar to the interactive and procedural vocation of the digital medium. -
Optical Character Recognition
International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-2 Issue-1, March 2013 Optical Character Recognition Ravina Mithe, Supriya Indalkar, Nilam Divekar Most of the character recognition program will be Abstract— The Optical Character Recognition is a mobile recognized through the input image with a scanner or a application. It uses smart mobile phones of android platform. digital camera and computer software. There is a problem in This paper combines the functionality of Optical Character the spatial size of the computer and scanner. If you do not Recognition and speech synthesizer. The objective is to develop have a scanner and a digital camera, a hardware problem user friendly application which performs image to speech occurs. In order to overcome the limitations of computer conversion system using android phones. The OCR takes image occupying a large space, character recognition system based as the input, gets text from that image and then converts it into speech. This system can be useful in various applications like on android phone is proposed [4]. banking, legal industry, other industries, and home and office OCR is a technology that enables you to convert different automation. It mainly designed for people who are unable to types of documents such as scanned paper documents, PDF read any type of text documents. In this paper, the character files or images captured by a digital camera into editable and recognition method is presented by using OCR technology and searchable data. Images captured by a digital camera differ android phone with higher quality camera. from scanned documents or image. -
Experimenting with Analogy for Lyrics Transformation
WeirdAnalogyMatic: Experimenting with Analogy for Lyrics Transformation Hugo Gonc¸alo Oliveira CISUC, Department of Informatics Engineering University of Coimbra, Portugal [email protected] Abstract Our main goal is thus to explore to what extent we can rely on word embeddings for transforming the semantics This paper is on the transformation of text relying mostly on of a poem, in such a way that its theme shifts according a common analogy vector operation, computed in a distribu- to the seed, while text remains syntactically and semanti- tional model, i.e., static word embeddings. Given a theme, cally coherent. Transforming text, rather than generating it original song lyrics have their words replaced by new ones, related to the new theme as the original words are to the orig- from scratch, should help to maintain the latter. For this, we inal theme. As this is not enough for producing good lyrics, make a rough approximation that the song title summarises towards more coherent and singable text, constraints are grad- its theme and every word in the lyrics is related to this theme. ually applied to the replacements. Human opinions confirmed Relying on this assumption and recalling how analogies can that more balanced lyrics are obtained when there is a one-to- be computed, shifting the theme is a matter of computing one mapping between original words and their replacement; analogies of the kind ‘what is to the new theme as the origi- only content words are replaced; and the replacement has the nal title is to a word used?’. same part-of-speech and rhythm as the original word. -
Antithesis: the Dialectics of Software
******************************************************************************************************************************************************************************** ******************************************************************************************************************************************************************************** ******************************************************************************************************************************************************************************** ******************************************************************************************************************************************************************************** ******************************************************************************************************************************************************************************** ********************************************************************************************************************************************************************************ANTITHESIS: THE DIALECTICS OF SOFTWARE ART ART OF SOFTWARE ANTITHESIS: THE DIALECTICS ********************************************************************************************************************************************************************************argues that software art praxis can offer ********************************************************************************************************************************************************************************new critical forms of -
Typology and Transtextuality Willem Strank
The practice of songscoring: typology and transtextuality Willem Strank (Kiel) I. Four kinds of songscoring: a short contextual typology The practice of ›songscoring‹ has already been researched extensively (Romney/Wootton 1995, Donnelly 2001, Wojcik/Knight 2001, Inglis 2003, Reay 2004, Dyer 2011 among many others) and there have been many substantial efforts to produce a comprehensive overview as well as numerous dedicated case studies. Thus the following introduction does not aim to reinvent or sum up these ample results but try to outline two different typological approaches to songscoring which are contextual and transtextual respectively. They are merely meant to serve as a humble introduction to the subsequent articles about the history, theory and practice of songscoring assembled in this edition as a result of a conference called »›Play it again, Sam!‹ The history, theory and practice of songs in film« held in Kiel in 2014. For the contextual typology I am going to introduce four different approaches to describing the use of songs in films. The first approach can be regarded as an accumulation of examples directed or supervised by the same »auteur« – comparing directors’ or musical supervisors’ use of songs in different films. Some directors have constant collaborators (e. g. the liaison of Martin Scorsese and Robbie Robertson, see Rabenalt 2015) or habitually account for the selection of pre-existing film music themselves. This practice may have become extremely popular in recent decades because of KIELER BEITRÄGE ZUR FILMMUSIKFORSCHUNG, 12, 2016 // 181 Quentin Tarantino whose ›mixtape technique‹ is sometimes regarded by film critics to be something completely new.