Academic literature on the topic 'Expressive and poetic function'

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Journal articles on the topic "Expressive and poetic function"

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Kolker, Yakov M., and Elena S. Ustinova. "On the less obvious manifestations of the poetic function: a translator’s view." Slovo.ru: Baltic accent 12, no. 3 (2021): 34–53. http://dx.doi.org/10.5922/2225-5346-2021-3-3.

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The paper examines the interaction of the poetic function with the emotive and expressive functions in belles-lettres texts. The authors attempt to prove that the poetic function should not be equated with the aesthetic one. The former overlaps all the above-mentioned func­tions, but alone bears the responsibility for the form-content fusion. The paper focuses on the less evident mechanisms of the poetic function, beyond the obvious effect of tropes and figures of speech. Not unlike meiosis, its allegedly weaker ‘voice’ is capable of producing a much strong­er effect, which can be discerned in rhythm and punctuation, in the absence of rhyme to in­duce an implicit rhymed word, in “elaborately monotonous” language, in textual opposi­tion of synonyms, in expressly neutral and unemotional final phrases to evoke a train of emo­tive or intellectual reactions. The authors also suggest a functional approach to the notion of “poetic device”, which gives the translator more freedom in selecting expressive means with­out dis­torting the conceptual sphere of the original. An inter-semiotic view of literary devices bor­rowed from cinematic art proves the inimitability of the effect of the same device within the total conceptual structure of each text. Some of the propositions suggested are il­lustrated by excerpts of poetic translation done by the authors of the paper.
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Vishnyakova, Olga Dmitrievna, Elizaveta Aleksandrovna Vishnyakova, and Natalia Viktorovna Sharyshova. "Function of Sound Devices in the Construction of Metaphoric Meaning in Poetry." International Journal of English Linguistics 9, no. 4 (2019): 307. http://dx.doi.org/10.5539/ijel.v9n4p307.

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This paper presents a study of the relation between the meaning of the words and their phonological features within the poetic context. The article presents a short overview of the existing theories and assumptions in the researched area. Special attention is given to the theory of the arbitrariness of signs and recent studies, suggesting this claim to be incomplete and subject to numerous exceptions. This research is aimed at finding the evidence of metaphorical use of sounds patterns in the poetry of Dylan Thomas. This paper presents a detailed analysis of four poems: “From Love’s First Fever to Her Plague”, “Light Breaks Where No Sun Shines”, “Especially When the October Wind” and “After the Funeral” with a few examples from other poems. The results of the analysis show that sound, being one of the most important elements of poetic texts, is able to obtain a specific semantic meaning of its own but is highly dependent on the context. Interpretation of sound patterns and their expressive potential is crucial for a comprehensive analysis of poetic texts.
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Baktybayeva, Annel T. "Ways of expressing irony and its types in modern Russian-language poetry of Kazakhstan (on the example of D. Nakipov’s works)." Neophilology, no. 18 (2019): 178–84. http://dx.doi.org/10.20310/2587-6953-2019-5-18-178-184.

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We present the modern views of literature studies scholars, linguists and culturologists on the concept of irony in a poetic work. We analyze different ways of expressing irony on the example of contemporary Russian-language poetry by D. Nakipov. We center on material of the research literature on the analysis of the text poetics and lyrical poems of the Russian-speaking poet of Kazakhstan. Research methods: we use the method of continuous sampling to establish elements of irony in poetic texts; component and semantic analysis is used to determine the ironic meaning at various levels of literary text: lexical, grammatical, syntactic. Conclusion: in the works of D. Nakipov irony conveys the inner attitude of the narrator to what is happening, his mood and feelings through pun, antiphrasis, changes in phraseology, the use of neologisms, etc. Different ways of expressing irony create an ironic worldview. The ironic appeal, promise, readdressing, common-language and individually-author’s words and expressions with an ironic tone serves several functions (emotive, expressive, characterological) and passes several meanings (state, attitude, influence, characterization).
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Wibiani, Putu Findi Desi, I. Gede Budiasa, and Anak Agung Sagung Shanti Sari Dewi. "Code Switching Analysis on You-Tube Channel #NebengBoy by Boy William." Humanis 25, no. 3 (2021): 299. http://dx.doi.org/10.24843/jh.2021.v25.i03.p06.

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This study is entitled "Code-Switching Analysis on YouTube Channel "#NebengBoy by Boy William”. The aim of the study is to analyze the type and the function of code-switching on the Boy William YouTube Channel. The data is collected from the YouTube Channel of Boy William which is taken from Maudy Ayunda and Sandra Dewi episodes. The method and technique of collecting data is the documentation method, and the analysis is done by the qualitative method. The theory that is used to analyze the types and functions of code-switching is Apple & Muysken's theory (2015). Three types of code-switching are found namely tag switching, intra-sentential switching, and inter-sentential switching, and their six functions, namely referential function, directive function, expressive function, phatic function, metalinguistic function, and poetic function. Nonetheless, the metalinguistic function is not found in the analyzed data.
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Teterina, Liliya. "ОN ONE FORM OF POETOLOGICAL REFLEXIVITY IN LYRICS OF GILLIAN ALLNUTT, CAROL ANN DUFFY, SIMON ARMITAGE". English and American Studies 1, № 17 (2020): 124–30. http://dx.doi.org/10.15421/382021.

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The aim of this paper was to consider one form of poetological reflexivity connected with the interaction of poetry with non-poetic discourses in the context of contemporary culture. Poetological reflexivity is understood here as foregrounding in poetry author’s contemplations dealing with the creative process, including such philological aspects as aesthetic criteria, normative cannons, relationship with the art of predecessors, interpretation of language expressive means, stylistic devices, poetic techniques (meter, rhyme, stanza, rhythmic modifiers) and others, incorporated into the texture of a poem. Such poems are often referred to as «metapoetic lyrics» or «metapoetry». Three poems by Gillian Allnutt, Carol Ann Duffy and Simon Armitage were analyzed from the point of view of language signs actualizing authors’ reflexivity concerning the relationship between poetic and non-poetic discourses. This problem, which has always been in the center of poets’ attention became especially acute today in the context of expanding mass media. The analysis of the poems revealed verbal and nonverbal markers of their authors’ reflexivity connected with the use of language means and discourse strategies of nonfiction registers, which appeared to be a productive resource for enrichment of poetic speech. These markers manifest themselves in a different way however all of them can be coordinated with their metapoetic function – expression of their authors’ understanding of poetry specifics.
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De Regt, Lénart J. "Translating Biblical Poetry as Poetry." Między Oryginałem a Przekładem 27, no. 3(53) (2021): 103–16. http://dx.doi.org/10.12797/moap.27.2021.53.06.

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After an introduction into translating biblical poetry as a new communication event in the target culture (and not as a documentation of a source culture event), an analysis is made of a Dutch poetic translation of Psalms 23 and 121 and a Frisian poetic translation of Psalm 23. Of the poetic features and means of expression in these translations, Dutch and Frisian patterns ofmeter are the most important. When a poetic translation of biblical poetry follows genre conventions of the target language and culture (rather than attempting but failing to reproduce the poetic features of the source text), such a translation is able to generate a new, direct communication event that reduces the distance between the hearer/receiver of the target culture and the text of the source culture. Such a translation engages the hearer more effectively in responding to the text, because the poetic features of the target language facilitate the expressive, appellative and phatic functions of the communication. This should be an encouragement to translators to render different types of biblical poetry into different genres and poetic patterns of the target language that will actually fit the subject matter of the text into the context of the target culture.
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Le Thi Thuy, Vinh. "Phonetic factors in the construction of aesthetic signals of poetic language." Journal of Science Social Science 65, no. 8 (2020): 109–18. http://dx.doi.org/10.18173/2354-1067.2020-0055.

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Phonetic factors in literary language in general and poetic language in particular have an important role in expressing the symbolic or emotional content of linguistic signals. This expression is not expressed directly but evoked and perceived while the phonetic element functions in a specific discourse. The article presents phonetic elements in the construction of aesthetic signals in poems in the current high school textbook. These are the phonetic elements of a syllable: first consonant, rhymes and tones. These factors have a typical role in contributing to express the content value of the linguistic signals, thereby confirm the phonetic system's advantage in poetic language as a guide in performing the poetic function.
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Khramushina, O. S. "About phonetic transformations of words in modern Russian poetry." Russian language at school 82, no. 2 (2021): 49–56. http://dx.doi.org/10.30515/0131-6141-2021-82-2-49-56.

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This article aims to determine the types and role of phonetic transformations of words as an active tactics applied in modern Russian poetry. This problem has not received sufficient theoretical attention, which is significant for an adequate analysis of artistic speech. The methods of functional and contextual analysis were applied allowing the phenomenon under study to be considered as an element of an integral literary text. As a result, the functions of phonetic transformations of words in poetic speech were revealed, in particular: 1) rhythmic (primary associated with the nature of poetic speech); 2) iconic, including the function of creating sound imagery (contributing to an enhanced expression of the author’s intention and ensuring the participation of phonetic transformations in certain types of stylisation); 3) compressive (reflecting the tendency towards speech economy, focused on spoken speech and incomplete pronunciation style); 4) text-forming (sound transformations as the main expressive means of a text can determine its structure); 5) euphemistic (the transformed version of the word constructs a phonetic allusion to its original version); 6) comic (the original sound can generate new versions including game, ironic and other meanings). It is concluded that there is a tight connection between phonetic experiments and the semantic accents made in poetic texts. The results of the study contribute to the existing scientific literature on phonemic transformations. The results can be applied when conducting a philological analysis of a text and at Russian language and literature lessons.
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Mukhamedova, Fatyma Khamzaevna, and Fatima Abdulovna Alieva. "Family and household songs in the Dargin folklore." Litera, no. 7 (July 2021): 99–106. http://dx.doi.org/10.25136/2409-8698.2021.7.36058.

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The subject of this research is the family and household songs as one of the genre varieties of non-ritual lyrics in the Dargin folklore. They are thematically related with family life, household, customs and traditions of the Dargins. Their content reflects the typical aspects of patriarchal family of the prerevolutionary Dagestan, when due to the rigid local customary laws, women were deprived of the right to decide their fate; therefore, multiple songs resemble sadness, sorrow, suffering, and distress of the heroes. This article explores the thematic diversity of family and household songs in the Dargin folklore, their poetics and nature of visual-expressive means; as well as reveals their ideological-aesthetic, artistic, stylistic and compositional functions in poetry. The novelty of this research lies in introduction of Dargin family and household songs into the scientific discourse, as well as description of the uniqueness and poetic means and techniques used therein. Analysis of the songs demonstrated that the poetic system of song lyrics as a whole, and family-household in particular, are characterized by the use of such literary techniques as metaphor, epithet, symbols, contrasts, iteration, etc., which play a significant role in the poetic text, reflecting the emotional state and the depth of feelings of the lyrical heroes.
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Hlukhovtseva, Iryna. "Phrasemics of Mykola Rudenko’s poetic works." Linguistics, no. 1 (42) (2020): 79–92. http://dx.doi.org/10.12958/2227-2631-2020-1-42-79-92.

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The article presents a general description of the phrasemicon of M. Rudenko, used in the poetry of the artist, clarifies its function and pragmatic intentions of the author. The subject of consideration were the poetic works of the artist, placed in the collection of Mykola Rudenko „Poetry” (Kyiv, 1991). The research introduces a descriptive method of studying linguistic phenomena with its procedures of semantic-stylistic and contextual-interpretive analysis. Phrases used in the poetic works of M. Rudenko complement and clarify the metaphorically expressed idea. It is no coincidence that the leading role in the poetic texts of the artist belongs to the figurative and expressive phraseology, which often includes metaphorical units. In his poems, the writer opens up greater opportunities for the realization of his creative ideas. Therefore, in addition to these stable combinations of words, the author uses constant comparisons, euphemisms, hyperboles. The thematic grouping of poetic works allows us to identify stable combinations of words used by the master of the word to depict the image of the author, his opponent. Therefore, we can talk about the phraseological portrait of the Ukrainian people in the poetry of M. Rudenko, his native land, as well as the lyrical hero and his opponent. With the help of phrases the poet figuratively reproduces the attitude of different groups of the population to the language, determines the place of the native language in the life of the Ukrainian people. Using various ways of stylistic use and contextual transformation of phraseological units (creation of semantic oppositions, use of antonymous opposition, semantic renewal), the poet often modifies them in order to give the expression a certain connotation, strengthen the expressiveness of the phrase, update its semantic nuances. This is served by the methods of expanding the component composition of a stable combination of words, permutation of components, introduction of a phrase into a new context, lexical replacement of one component by another. Using the image, which became the basis of common phraseology, the author often forms a stable combination of words.
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Dissertations / Theses on the topic "Expressive and poetic function"

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Absalyamova, Elina. "Paul Verlaine critique littéraire : aspects biographique, esthétique et discursif." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040152.

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À travers l’expérience de Verlaine, cette thèse s’interroge sur la critique littéraire d’un écrivain. Les raisons d’être et les particularités formelles d’une production quotidienne d’un poète accédant graduellement à la notoriété sont étudiées en partant d’un panorama des définitions du phénomène (introduction). La triple analyse biographique, esthétique et discursive expose le lien étroit entre le contexte de production de la critique, les constructions théoriques qu’elle véhicule et les formes discursives qu’elle prend. La position marginale de Verlaine dans le champ littéraire prédétermine sa méfiance envers les mécanismes del’institutionnalisation, autant qu’envers les théories qui la justifient. D’où la faible conceptualisation théorique et le maniement contradictoire et décourageant des notions existantes. Les particularités de l’autoreprésentation (provocation, ethos faible) découlent également de sa position dans le champ littéraire et accompagnent l’abandon des théories prescriptives au profit d’une tolérance accrue. L’accent se déplace du domaine conceptuel vers le domaine discursif où se cultivent l’affectivité, l’expressivité, l’ironie qui rapprochent la critique de la création poétique, sans toutefois l’apparenter à la poésie en prose. Cette critique garde le caractère pragmatique d’élément de communication littéraire, son efficacité renforcée par certains traits de l’idiolecte (jeux de sonorités, métaphores, segmentation des phrases), dégagés de leur valeur poétique dans le nouveau contexte<br>Verlaine’s experience allows to question the phenomenon of writer criticism. The rationale and the formal qualities of the daily critical output of a poet acceding to celebrity are studied after an overview of the phenomenon’s definitions (introduction). The triple biographical, esthetic and discourse analysis reveals the tight bond between critical production context, theories used and form given to critical texts. Verlaine’s marginal position in the literary field predetermines his distrust of institutionalization mechanisms and oftheories justifying them resulting in low conceptualization as well as in contradictory and discouraging handling of existing notions. The particularities of self-representation (provocation, weak ethos) equally result from his position in the literary field and go along with abandoning prescriptive theories in the name of tolerance. The emphasis moves from the conceptual sphere to the discourse accentuating affectivity, expressivity and irony which bring it closer to poetical creativity but not so as to become prose poetry. This criticism does not loose its pragmatic turn inherent to literary communication, its efficiency being reinforcedby certain features of idiolect (play upon sounds, metaphors, segmentation of phrases), freed of their poetical value in the new context
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Lee, Yeseung. "The ambiguity of seamlessness : the poetic function of making." Thesis, Royal College of Art, 2012. http://researchonline.rca.ac.uk/1366/.

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This practice-led research examines the paradox of seamlessness in fashion, drawing on the similarities found between the process of making garments, the process of their embodiment and process of research. Integrating practical and theoretical methods, it suggests that the process of making and using garments can be a transitional experience, as well as a device that creates ambiguity of subjectivity, which in turn promotes the subject’s reflexive re-adjustment. This analysis informed and was informed by making a series of seamless woven garments which reveal their own construction, showing themselves to be forms in process, representing the ambiguity of modern subjects. Inconsistency and contradiction are intrinsic to fashion: it is both matter and meaning, both cover and display, both imitation and differentiation, but it is always difficult to locate clear demarcation. As a garment-maker, I metaphorically placed this ambiguity at the material level of seams, openings and edges of garments, from which emerged the research question: What is the meaning and function of the seam and seamlessness? My investigation through making garments via hand-woven seaming methods, and my search for an adequate theoretical rendering of the reflections arising from the making, led me beyond the discipline of fashion, to the fields of psychoanalysis, anthropology, sociology and art, literary and cultural theory, from which a series of perspectives are derived. Articulated in this thesis and the accompanying exhibition are thus the process and result of my explorations through making, writing, and theory. The making process involving contact with material is a displacing experience that generates a reflexive value. This demonstrates the ability of garments to test and reset the essential boundary of corporeal subjectivity through the experience of both illusion and reality. Dressing practice is thus the making of the self via repeated reality testing. The poetic function of making thus enables us to generate an authentic knowledge from the experience of oscillating between disparate states. Therefore, together, the seam and seamlessness represent the subject-in-process, and fashion as a particular way of being in this transitional passage. The estranging effect of my hand-woven seams demonstrate this poetic function of making. In the same way, the thesis reveals the seams between practice and theory, and between diverse references, but also their mutually informing relationship.
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Steriopolo, Olga. "Form and function of expressive morphology: a case study of Russian." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/424.

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In this thesis, I conduct a detailed case study of expressive suffixes in Russian. I show that although the suffixes under investigation have the same function (“expressive”), they differ significantly in their formal properties. I identify two major semantic types of expressive suffixes: attitude and size suffixes. Attitude suffixes convey an attitude of the speaker toward the referent. Size suffixes both convey an attitude and refer to the size of the referent. I argue that the two different semantic types map onto different syntactic types. Attitude suffixes are syntactic heads, while size suffixes are syntactic modifiers. As heads, attitude suffixes determine the formal properties (syntactic category, grammatical gender and inflectional class) of the derived form. As modifiers, size suffixes do not determine the formal properties of the derived form. Attitude suffixes can attach both to category-free √Roots and to categories (n/a/v), while size suffixes can only attach to a noun category. I investigate the functional and formal properties of Russian expressive suffixes in a systematic way, which has not been done before. In doing so, I analyze how expressive suffixes pattern along several kinds of criteria (gender/class change, category change, subcategorization). An important byproduct of this analysis is that I show how grammatical gender of an expressive form can be predicted from its inflectional class (combined with animacy and natural gender of the base). One implication of this analysis is that I show that the formal properties of expressives are no different from those of non-expressives (descriptives), as both expressives and descriptives can attach as heads or modifiers either to √Roots or categories. Another implication is that the formal criteria which I develop for a small set of expressive suffixes in Russian can be extended to set up a cross-linguistic typology of expressives.
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Olsen, Espen Myklebust. "Expressive conducting gestures : Reflections on the function of the left hand." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2396.

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This thesis will explore the function of the conductor’s left hand, with emphasis on its expressive possibilities and the gestures. In the first chapter, the role of the conductor is discussed, and some problems around the field of expressive gestures are brought up. In the second chapter, I present the history of conducting, or rather the history of musical leadership, as the practice of conducting we are familiar with today began in the late 19th Century. In this chapter, I also include some paragraphs about gesture and its role and function outside of musical leadership, such as public speaking. In chapter three, I examine a selection of instruction books and how they treat the use of the left hand. During the work on this material I found several quotations and thoughts from conductors, in letters and interviews, presented in chapter four. This is interesting for this study, because it offers the personal opinions and experiences of well-established conductors and conducting teachers. It also shows how the opinions on the use of the left hand have changed over the past century. Chapter five is a lengthy chapter of research on this topic. Not all is directly connected to the left hand, but all is in connection to gesture in some way. These chapters form the basis of a discussion, where findings in previous chapters are pointed out and debated, and the authors personal opinion is presented. At the end follows suggestions on how this topic can be further researched and how one can create a repertoire of expressive gestures.
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White, Michael James. "The theme and poetic function of space in Theodor Fontane's works." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/969.

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This thesis proposes a new view of space in Theodor Fontane’s writing as both a mode of literary expression and an object of literary inquiry: space serves a poetic function and is a thematic concern. The research draws on theories of literary space which focus on spatial structures and topographies, as well as those which provide critical tools for analysing individual passages of description, especially focalisation, which elucidates the influence of the viewing figure in the text. Significantly, the subjective experience of a perceptive observer is central to Fontane’s conception of aesthetic processes, and as a result, an analysis of spatial representation often uncovers reflexive discourses on art, its function and value. On the basis of this insight, this study provides new readings of a range of texts, including less well-established and non-fictional works, as well as recognised masterpieces. In Fontane’s local travelogues, the Wanderungen, the poetic function of space is rare, while many passages reflect on the environment’s potential significance. The early novels explore spatial representation as a means of constructing textual symbolism. Spatial representation in Vor dem Sturm functions as a strategy of relativisation; in Schach von Wuthenow and Graf Petöfy topographies and pregnant descriptions serve as commentaries on characters’ levels of awareness. The mature novels Irrungen Wirrungen and Unwiederbringlich explore the sources and practical implications of reading objects in the world as signs. Space retains its formal role, but the represented figural experience of the novels’ worlds becomes a vehicle for reflexive analysis of the world’s perceived meanings. Similarly, in Der Stechlin different types of relationships with exterior reality are expressed spatially, and, as elsewhere, the capacity for aesthetic appreciation is represented positively. This entails and indeed produces critical distance towards modernity: isolated Stechlin is a locus of poetry, a testament to literature’s importance and vitality.
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Schroder, Simone. "Turning nature into essays : the epistemological and poetic function of the nature essay." Thesis, University of Bath, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.760937.

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The topic of this doctoral thesis is the nature essay: a literary form that became widely used in European literature around 1800 and continues to flourish in times of ecological crisis. Blending natural history discourse, essayistic thought patterns, personal anecdotes, and lyrical descriptions, nature essays are hybrid literary texts. Their authors have often been writers with a background in science. As interdis-cursive agents they move swiftly between different knowledge formations. This equips them with a unique potential in the context of ecology. Essayistic narrators can grasp the interdisciplinary character of environmental issues because they have the ability to combine different types of knowledge. They can be encyclopae¬dic fact mongers, metaphysical ramblers and ethical counsellors. More often than not they are all in one person. Where nature essays were taken into consideration so far they were mostly discussed together with other nature-oriented nonfiction forms under the label ‘nature writing’. This study proposes a different approach in that it insists that the nature essay has to be understood as a literary form in its own right. It explores canonical works of nature writing, such as Thoreau’s Walden, often for the first time as nature essays by discussing them alongside other typical examples of this genre tradition. In order to better understand the discursive impact of this form, I frame my discussion in the context of ecocritical theory. This means that I analyse my corpus of texts with regard to the ways in which writers depict the relationships between human and nonhuman spheres. Putting a particular focus on Germanic and An-glophone literature, the present thesis investigates central paradigms in the evolu-tion of nature essay writing. It covers a time period that stretches from its roots in late eighteenth-century natural history discourse to the present, identifying key epistemological, formal, and thematic patterns of this literary form the importance of which so far has been rather neglected by literary criticism.
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PELLEGRINI, RAFFAELLA. "Listen to my breath: Exploring expressive function of breathing sounds in imitation and emotional attunement." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1271.

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Diversi studi hanno dimostrato i reciproci rapporti di influenza tra respiro e variabili psicologiche ma scarsa attenzione è stata rivolta all’indagine delle funzioni espressive del suono del respiro. Studio 1 è stato finalizzato alla costruzione di un modello di analisi multi-livello per la descrizione acustica del respiro. Sono state effettuate audio e video registrazioni del respiro di 2 coppie di soggetti in performance individuali e congiunte. Sui 1903 respiri raccolti sono state condotte analisi video e audio che hanno portato alla costruzione di tre categorie di indici: respiratori, acustici e interattivi (relativi alla relazione tra i comportamenti respiratori di due partners in un’azione congiunta). Studio 2 ha investigato cosa poteva essere inferito dall’ascolto del suono respiro relativamente all’identità, allo stato emotivo e all’attività svolta da una persona. Inoltre, ha verificato se l’imitazione facilitasse l’identificazione rispetto al solo ascolto. Sono state raccolte registrazioni ecologiche del respiro di persone coinvolte in 6 attività e 4 emozioni. Un campione di 90 persone ha ascoltato le tracce e risposto ad un questionario relativo alle suddette variabili. Altre 90 persone prima di rispondere imitavano il respiro. Il campione ha efficacemente inferito informazioni relative alle variabili indagate, con risultati migliori nel task di imitazione. Studio 3 mirava a descrivere acusticamente 6 condizioni di respiro emotivo (rabbia, paura, tristezza, disgusto, tenerezza, gioia) e a investigare se “respirare insieme” influenzasse il processo di sintonizzazione. 20 coppie di donne hanno partecipato. Per ogni emozione, entro ogni coppia una partecipante leggeva una storia emotivamente connotata e respirava come se si trovasse in quella situazione. L’altra esprimeva la propria vicinanza respirando come lei. Al termine rispondevano a un questionario. I respiri sono stati audio registrati e analizzati. E’ stato possibile ricondurre ciascuna delle emozioni a un differente pattern respiratorio. Inoltre il task ha influenzato diverse dimensioni della sintonizzazione: la sincronizzazione, il decoding emotivo, l’esperienza emotiva e la percezione di somiglianza interpersonale.<br>Several psycho-physiological studies have provided evidences about the reciprocal influence between respiration and psychological variables but few attentions have been brought to the investigation of the expressive function of breathing sounds. Study 1 aims to build a multilayer analysis model that enable an acoustic description of breathing sounds. Audio and video recordings of breathing of two pairs of participants engaged in individual and joint performance were conducted. 1903 were video and audio analyzed and 3 sets of indexes were derived: respiratory, acoustic and interactive (aimed to relate partner’s respiratory behaviour during joint performances). Study 2 investigates what could be inferred about a person’s identity, emotional state and activity from the sound of his/her breathing. Moreover, it aims to verify whether imitation of breathing patterns improve the identification of those features. Ecological recordings of breathing sounds of people engaged in 6 activities and 4 emotions. 90 participants listen to the tracks and answer a questionnaire about such variables. Other 90 mimicked the tracks before answering. Participants were able to infer valuable information about the aspects under investigation with better results in the imitation task. Study 3 aims to describe the acoustic features of 6 emotional breathing patterns (anger, fear, sadness, disgust, tenderness and joy) and to see whether breathing together could strengthen the attunement process. 20 pairs of women participated. For each emotion, within the pair one participant read a story emotionally connoted and breathes as if she actually was in that situation. Her partner had to convey her closeness breathing in the same way. Finally they filled in a questionnaire. Different respiratory patterns were related to each emotion. Moreover the task influenced several attunement dimensions: synchronization, emotional decoding, emotional experience and perception of interpersonal similarity.
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Bandalli, Peter K. "A phenomenological analysis of the expressive and communicative functions of deliberate self-harm." Thesis, University of Bath, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548105.

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The notion that acts of deliberate self-harm serve an expressive or communicative function is the central premise upon which many of the main functional models of selfharm are based. However despite the importance of this notion, very little empirical evidence exists to support it. Within this project the notion that acts of DSH serve an expressive or communicative function was explored in detail. Four studies investigating the expressive and communicative qualities of acts of DSH, the content which such behaviours serve to express, and the dynamics by which several different modalities of DSH do this were performed utilising Internet methods of data collection. The use of online methods of data collection findings of this project only apply to the sub-group of individuals who engage in DSH and also participate in online discussion forums. Photographs of words and phrases engraved into the skin along with detailed first person narratives of past episodes of deliberate self-harm were used as data sources in this project. Due to their high frequency of occurrence, acts of skin-cutting, self-burning, self-hitting, and self-poisoning were the main modalities of deliberate self-harm investigated in the four studies. Acts of skin-cutting, self-burning, self-hitting, and self-poisoning were all reported to serve expressive functions which allowed emotions and issues to be released or discharged from the body. Conversely, acts of skin-cutting and self-poisoning were also reportedly used to communicate emotional distress and a need for support from others. The content expressed or communicated by such behaviours, and indeed the dynamics by which they did so depended largely upon the modality by which injuries were inflicted. However in general the content expressed and communicated by the acts of deliberate self-harm reported in this project typically related to the events which preceded such behaviours, how they were interpreted, the types of psychological experiences they represented, and the emotions which they evoked. Such events were overwhelmingly interpersonal in nature, and typically involved the dissolution or disruption of relationships with primary support group members. The dynamics by which acts of deliberate self-harm reportedly served these functions differed widely, however the concept of symbolism was central to all modalities. The data collected within this project relating to the expressive and communicative functions of acts of skin-cutting, self-burning, self-hitting, and selfpoisoning was finally collated with the existing literature on the subject.
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Reynolds, D. A. "Imagination and the aesthetic function of signification in the works of Rimbaud, Mallarme, Kandinsky and Mondrian." Thesis, University of East Anglia, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376063.

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Sen, Chiradeep. "A study in the information content, consistency, and expressive power of function structures in mechanical design." Connect to this title online, 2009. http://etd.lib.clemson.edu/documents/1249065928/.

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Books on the topic "Expressive and poetic function"

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Kaproń-Charzyńska, Iwona. Pragmatyczne aspekty słowotwórstwa: Funkcja ekspresywna i poetycka = Pragmatic aspects of word formation : the expressive and the poetic function. Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika, 2014.

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Tsur, Reuven. What makes sound patterns expressive?: The poetic mode of speech perception. Duke University Press, 1992.

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White, Michael James. Space in Theodor Fontane's works: Theme and poetic function. Modern Humanities Research Association, 2012.

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Tsur, Reuven. How do the sound patterns know they are expressive?: The poetic mode of speech perception. Israel Science Publishers, 1987.

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A half-life of cardio-pulmonary function: Poems and paintings. Syracuse University Press, 2008.

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Stocks, Simon P. The form and function of the tricolon in the Psalms of Ascents: Introducing a new paradigm for Hebrew poetic line-form. Pickwick Publications, 2012.

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Loew, Katharina. Special Effects and German Silent Film. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725231.

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In recent decades, special effects have become a major new area of research in cinema studies. For the most part, they have been examined as spectacles or practical tools. In contrast, Special Effects and German Silent Film, foregrounds their function as an expressive device and their pivotal role in cinema’s emergence as a full-fledged art. Special effects not only shaped the look of iconic films like Nosferatu (1922) or Metropolis (1927), but they are central to a comprehensive understanding of German silent film culture writ large. This book examines special effects as the embodiment of a “techno-romantic” paradigm that seeks to harness technology – the epitome of modern materialism – as a means for accessing a spiritual realm. Employed to visualize ideas and emotions in a medium-specific way, special effects thus paved the way for film art.
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Csabi, Szilvia, ed. Expressive Minds and Artistic Creations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190457747.001.0001.

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Expressive Minds and Artistic Creations: Studies in Cognitive Poetics presents multidisciplinary and interdisciplinary research papers describing new developments in the field of cognitive poetics. The chapters examine the complex connections between cognition and poetics with special attention given to how people both create and interpret novel artistic works in a variety of expressive media, including literature, music, art, and multimodal artifacts. The authors have diverse disciplinary backgrounds, but all of them embrace theories and research findings from multiple perspectives, such as linguistics, psychology, literary studies, music, art, neuroscience, and media studies. Several authors explicitly discuss empirical and theoretical challenges in doing interdisciplinary work, which many believe is essential to future progress in cognitive poetics. Scholars address many specific research questions in their chapters, such as, most notably, the role of embodiment and simulation in human imagination, the importance of conceptual metaphors and conceptual blending processes in the creation and interpretation of literature, and the function of multiperspectivity in poetic and multimodal texts. Several new ideas are also advanced in the volume regarding the cognitive mechanisms responsible for artistic creations and understandings. The volume overall offers an expanded view of cognitive poetics research that situates the study of expressive minds within a broader range of personal, social, cultural, and historical contexts. Among other leading researchers, contributors include world-famous scholars of psychology, linguistics, and literature—Raymond W. Gibbs, Jr., Zoltásn Kövecses, and Reuven Tsur—whose defining papers also survey the roles and significance of conceptual mechanisms in literature.
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Johnson, Galen A., Mauro Carbone, and Emmanuel de Saint Aubert. Merleau-Ponty's Poetic of the World. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823288137.001.0001.

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Merleau-Ponty’s Poetics of the World offers detailed studies of the philosopher’s engagements with Proust, Claudel, Claude Simon, André Breton, Mallarmé, Francis Ponge, and more. From Proust, Merleau-Ponty developed his conception of “sensible ideas,” from Claudel, his conjoining of birth and knowledge as “co-naissance,” from Valéry came “implex” or the “animal of words” and the “chiasma of two destinies.” Thus also arise the questions of expression, metaphor, and truth and the meaning of a Merleau-Pontyan poetics. The poetic of Merleau-Ponty is, inseparably, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. This poetics is worked out across each co-author’s chapters in dialogue with Husserl, Walter Benjamin, Heidegger, and Sartre. A new optic proposes the conception of literature as a visual “apparatus” in relation to cinema and screens. Recent transcriptions of Merleau-Ponty’s first two 1953 courses at the Collège de France The Sensible World and the World of Expression and Research on the Literary Usage of Language, as well as the course of 1953–54, The Problem of Speech, lend timeliness, urgency and energy to this project. Our goal is to specify more precisely the delicate nature and properly philosophical function of literary works in Merleau-Ponty’s thought as the literary writer becomes a partner of the phenomenologist. Ultimately, theoretical figures that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression.
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Lee, Daniel H., and Adam K. Anderson. Form and Function of Facial Expressive Origins. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190613501.003.0010.

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Facial expressions are an important source of social communication. But we do not know why they appear the way they do and how they arose. Here we discuss evidence supporting Darwin’s theory that our expressions originated for sensory egocentric function for the expresser, which were then co-opted as signals for allocentric social function. We show that facial expressions of fear and disgust have distinct opposing sensory effects that serve each emotion’s theorized function, regulating the intake of nasal and visual information. Then, we show how such egocentrically adaptive expressive forms may have been socially co-opted for allocentric function, transmitting basic gaze signals and complex mental states adaptively congruent for the receiver as the expresser. Together, the evidence connects the appearance of our expressions from their evolutionary origins to their modern-day communicative role, providing a functional perspective for organizing and understanding expression forms.
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Book chapters on the topic "Expressive and poetic function"

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Enquist Källgren, Karolina. "Concluding Discussion: Poetic Reason and Expressive Subjectivity." In María Zambrano’s Ontology of Exile. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04813-6_6.

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Foolen, Ad. "The expressive function of language." In The Language of Emotions. John Benjamins Publishing Company, 1997. http://dx.doi.org/10.1075/z.85.04foo.

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Roth, Hans-Günter, and Arnold Upmeyer. "Behavior as an Expressive Function of Attitudes." In Attitudes and Behavioral Decisions. Springer New York, 1989. http://dx.doi.org/10.1007/978-1-4612-3504-0_9.

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Ďurikovič, Roman, and Martin Madaras. "Controllable Skeleton-Sheets Representation Via Shape Diameter Function." In Mathematical Progress in Expressive Image Synthesis II. Springer Japan, 2015. http://dx.doi.org/10.1007/978-4-431-55483-7_7.

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Ando, Hisashi, Mike Hay, Kenji Kajiwara, and Tetsu Masuda. "Explicit Formula and Extension of the Discrete Power Function Associated with the Circle Patterns of Schramm Type." In Mathematical Progress in Expressive Image Synthesis II. Springer Japan, 2015. http://dx.doi.org/10.1007/978-4-431-55483-7_3.

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Sharon-Zisser, Shirley. "The Poetic Function from Jakobson to Lacan: A Lacanian Theory of Poetics." In The Prague School and Theories of Structure. V&R unipress, 2009. http://dx.doi.org/10.14220/9783862347049.281.

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Meisterernst, Barbara. "The function of poetic language and rhymes in pre-modern Chinese literature." In The Routledge Handbook of Chinese Applied Linguistics. Routledge, 2019. http://dx.doi.org/10.4324/9781315625157-9.

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Smith, David P., and Nathan Keyfitz. "On the Nature of the Function Expressive of the Law of Human Mortality." In Demographic Research Monographs. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-35858-6_25.

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Greiner, Rasmus. "Audiovisual History." In Cinematic Histospheres. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_3.

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AbstractThe aim of this chapter is to consider relevant theories of visual and audio history whose ontologies a histosphere absorbs and elaborates. The first section surveys the relatively new field of visual history. It argues that a histosphere creates not just disparate images but a visual sphere in which history is brought to life. Research into audio history is an even newer and less developed field. The second section therefore sketches the outlines of an audio history of film and examines the aesthetics and function of film sound, understood as an equally important expressive dimension of histospheres. The two aspects are brought together in the third section: The fusion of sound and vision makes the historical film not just a model of a historical world, but a form of perception in its own right.
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Carbone, Mauro. "The Clouded Surface." In Merleau-Ponty's Poetic of the World. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823288137.003.0005.

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The whole path of Merleau-Ponty’s thought is crossed—sometimes more evidently than others—by what I propose to qualify as the idea of literature and philosophy as visual apparatuses, to use an expression that was born—and not by chance—in the Film Studies domain. More precisely, I aim at asserting that Merleau-Ponty sees literature and philosophy working in his epoch as convergent apparatuses (dispositifs) of vision, in turn understood as a bodily and not merely ocular practice. Immediately after that, I should specify that such convergent visual apparatuses peculiarly function by words, and that Merleau-Ponty stresses their different efficiency in expressing his epoch. Moreover, I think that the implicit idea of philosophy as a visual apparatus working by words “like all literature” has a particularly relevant but so far not consequently developed place in in the last period of Merleau-Ponty’s thought. Also, I would like to stress that such a perspective is crucial in our own time too, even though I consider it to be different from Merleau-Ponty’s. Indeed, I think that both our time and Merleau-Ponty’s are characterized by a tension between the increasing importance of images and the traditional centrality of the concept in our culture.
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Conference papers on the topic "Expressive and poetic function"

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Muratova, Elena Yu. "LINGUISTIC EXPRESSION OF SOCIOCULTURAL REALITY IN A POETIC TEXT." In FUNCTIONAL ASPECTS OF INTERCULTURAL COMMUNICATION. TRANSLATION AND INTERPRETING ISSUES. Peoples' Friendship University of Russia, 2019. http://dx.doi.org/10.22363/2712-7974-2019-6-329-335.

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Gatsalova, Larisa Borisovna, Larisa Kasbulatovna Parsieva, and Elena Gennadievna Grigorieva. "Synthesis of language expressive means as the dominant of N.Dzhusoyty's poetic idiostyle." In Proceedings of the 1st International Scientific Practical Conference "The Individual and Society in the Modern Geopolitical Environment" (ISMGE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/ismge-19.2019.42.

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Kazachuk, Irina Georgievna. "Text-Forming Function Of Verb Forms In Poetic Prayers Of Z. Gippius." In International Scientific Congress «KNOWLEDGE, MAN AND CIVILIZATION». European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.05.148.

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Hsia, Chi-Chun, Chung-Hsien Wu, and Jian-Qi Wu. "Conversion Function Clustering and Selection for Expressive Voice Conversion." In 2007 IEEE International Conference on Acoustics, Speech, and Signal Processing. IEEE, 2007. http://dx.doi.org/10.1109/icassp.2007.367006.

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Tanaka, Yui, and Takayuki Fujimoto. "Proposal of Expressive SNS Application with Font Adjustment Function." In 2017 25th International Conference on Systems Engineering (ICSEng). IEEE, 2017. http://dx.doi.org/10.1109/icseng.2017.45.

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Ying Zheng, Jianglong Chang, and Zengfu Wang. "Correspondences between expressive 3D faces based on radial basis function re-sampling." In 2008 International Conference on Information and Automation (ICIA). IEEE, 2008. http://dx.doi.org/10.1109/icinfa.2008.4608080.

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Dominicini, Cristina Klippel, Magnos Martinello, and Moisés Renato Nunes Ribeiro. "Programmable, Expressive, Scalable, and Agile Service Function Chaining for Edge Data Centers." In XXXVIII Simpósio Brasileiro de Redes de Computadores e Sistemas Distribuídos. Sociedade Brasileira de Computação, 2020. http://dx.doi.org/10.5753/sbrc_estendido.2020.12417.

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Edge computing transfers processing power from large remote data centers (DCs) to distributed DCs at the edge of the network. This shift requires the ability to provide network functions virtualization (NFV) solutions that can efficiently manage and combine a large number of dynamic services in a resource-constrained DC. However, the routing mechanisms of traditional data center networks are not adequate for the dynamic composition of these services, because they are complex, rigid, subject to large delays in the propagation of control information, and limited by the size of switches' routing tables. In addition, traditional service function chaining (SFC) solutions in the service overlay are often decoupled from routing decisions in the network underlay, and restrict path selection options by traffic engineering. In this way, the NFV orchestrator cannot explore the full capacity of the network to provide composite services. To tackle these issues, this thesis investigated a programmable, expressive, scalable, and agile SFC proposal that allows dynamic and efficient orchestration of the network infrastructure of edge DCs with commodity network equipment. The proposal exploits virtualization and programmability technologies of DC networks, server-centric DCs, fabric networks, and a source routing mechanism based on the residue number system (RNS). As proof-of-concept, we developed prototypes with production DC technologies, such as OpenFlow, OpenStack, Open vSwitch and P4. The results of functional and performance tests showed that the proposed SFC scheme provides mechanisms to the NFV orchestrator that allow traffic engineering to make optimized decisions in the selection of network paths. This thesis also paves the way for exploring RNS-based source routing properties in SFC schemes, which can provide features such as fast failure reaction and forwarding without packet rewrite. In a broader analysis, the student published 22 papers in journals and conferences, contributed to funding initiatives, worked on international and national research projects, supervised undergraduate students, and leaded initiatives with innovation impacts.
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Sen, Chiradeep, Joshua D. Summers, and Xiaoyang Mao. "A Physics-Based Formal Vocabulary of Energy Verbs for Function Modeling." In ASME 2019 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/detc2019-98502.

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Abstract Function modeling of complex systems relies on predefined vocabularies of functions and flows. These vocabularies are usually developed in a top-down approach, i.e., by starting with a survey of existing systems and identifying their functions empirically. These vocabularies, while highly useful in manual modeling due to their expressive power and coverage, can be unsuitable for computerized modeling and reasoning, esp. for physics-based reasoning. To this end, this paper presents a physics-based vocabulary of function verbs developed using the bottom-up approach, where the need for the verbs is identified through a survey of physics phenomena involving operations on various energy forms allowed in physics. This survey results in a minimal set of only six verbs and two logical nodes that are proposed here. Each term is formally defined as object-oriented classes derived from more foundational classes proposed in prior research. The paper shows many applications of these terms, for modeling both simpler devices and more complex engineered systems. Collectively, this new vocabulary provides sufficient coverage over modeling needs and ensures models that are logically consistent and physics-wise valid.
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Koryčánková, Simona. "POETIC TEXTS IN TEACHING OF RUSSIAN ON B1 LEVEL (ON THE EXAMPLE OF WORKING WITH VOCABULARY DENOTING PERCEPTION IN THE POEMS OF O. BŘEZINA AND V. S. SOLOVYOV)." In Aktuální problémy výuky ruského jazyka XIV. Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9781-2020-5.

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The author of the article aims to introduce Russian poetic texts into the teaching of Czech students on B1 level. The chosen teaching methodology is based on motivating the students with the use of Czech symbolist poetry by O. Březina and a subsequent analysis of a poem by V. S. Solovyov. Work with the poetry of both authors focuses on perceptual lexicon, which plays key role in uncovering the meaning of a symbolist text. Students can thus gain knowledge of polysemous words and their different author’s connotations in an enticing and creative way. This enhances not only their knowledge of the content and language, but also of the aesthetic component related to the main function of an artistic text
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Guo, Yuchen, Guiguang Ding, Jungong Han, Hang Shao, Xin Lou, and Qionghai Dai. "Zero-shot Learning with Many Classes by High-rank Deep Embedding Networks." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/337.

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Zero-shot learning (ZSL) is a recently emerging research topic which aims to build classification models for unseen classes with knowledge from auxiliary seen classes. Though many ZSL works have shown promising results on small-scale datasets by utilizing a bilinear compatibility function, the ZSL performance on large-scale datasets with many classes (say, ImageNet) is still unsatisfactory. We argue that the bilinear compatibility function is a low-rank approximation of the true compatibility function such that it is not expressive enough especially when there are a large number of classes because of the rank limitation. To address this issue, we propose a novel approach, termed as High-rank Deep Embedding Networks (GREEN), for ZSL with many classes. In particular, we propose a feature-dependent mixture of softmaxes as the image-class compatibility function, which is a simple extension of the bilinear compatibility function, but yields much better results. It utilizes a mixture of non-linear transformations with feature-dependent latent variables to approximate the true function in a high-rank way, which makes GREEN more expressive. Experiments on several datasets including ImageNet demonstrate GREEN significantly outperforms the state-of-the-art approaches.
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