3,030 research outputs found
Review of Arthur M. Jacobs, Neurocomputational Poetics. How the Brain Processes Verbal Art (Anthem Press, 2023)
Get PDFReview of Arthur M. Jacobs, Neurocomputational Poetics. How the Brain Processes Verbal Art. Anthem Press, 2023
Réponse à P. Bovet (question 2)
No full textJacobs Arthur M. Réponse à P. Bovet (question 2) . In: Bulletin de psychologie, tome 39 n°375, 1986. Jugement et langage. Hommage à Georges Noizet. p. 372
Facteurs sensoriels et cognitifs dans l'exploration visuelle
No full textJacobs Arthur M. Facteurs sensoriels et cognitifs dans l'exploration visuelle. In: Bulletin de psychologie, tome 39 n°375, 1986. Jugement et langage. Hommage à Georges Noizet. pp. 355-361
Arthur William Upfield: a biography
Get PDFThis dissertation is an exhaustive account of the life and work of Arthur William Upfield (1890-1964). It is presented as a critical biography and narrates the life of the writer, in his socio-cultural milieu, from birth. It also positions Upfield as a writer who dealt with issues of Aboriginality at a time when this was a singularly polemical subject. My work is informed by the theory of Zygmunt Bauman and others and is posited in the context of late-modern biography theory.
English-born, Upfield arrived in Australia in 1911 and took work in the bush, serving overseas with the Australian army at the outbreak of World War I and marrying an Australian army nurse in Egypt. Returning with his wife and son to Australia in 1921 he intermittently carried his swag until he was employed patrolling the Western Australian number 1 rabbit-proof fence for three years to 1931. By that time he had published four novels, including two crime novels featuring his fictional creation, the part-Aboriginal, part-European, Detective-Inspector Napoleon Bonaparte ('Bony'), arguably the first fully-developed character in Australian popular fiction.
Leaving the fence, Upfield settled with his family in Perth and wrote full-time until joining the Melbourne Herald in 1933. Retrenched, he resumed career writing to be further interrupted by a war-time intelligence posting in 1939. In 1943 the first Bony mysteries were published in America, where Upfield's critical success was maintained until his death. In 1945 he left his wife for Jessica Uren, to whom he remained devoted.
Upfield's in all twenty-nine Bony novels, many of which have been translated across eleven languages, afforded him notable success both at home and abroad, in good part due to his descriptive gifts and the uniqueness of his fictional character, the part-Aboriginal Bony
The History of the Empirical Study of Literature from the Nineteenth to the Twenty-First Century
No full textThis chapter sketches the history of empirical reading research. Although Theodor Fechner, the father of Empirical Aesthetics, lived in the nineteenth century, and experiments in literary reading had taken place in previous centuries, the beginning of the twentieth century can be considered the birth of empirical studies of literature. By that time, three conditions for the birth of the discipline had already been met: (a) The understanding of aesthetic phenomena, such as literary reading, in psychological terms; (b) the development of proper experimental tools; and (c) the recognition of literary texts as aesthetic objects. In 1914, the term “empirical literary science” (“empirische Literaturwissenschaft”), which is still in use, appeared for the first time in a written document. This chapter describes the evolution of the research field, beginning with its forerunners in the nineteenth century, moving to Robert Chenault Givler’s, Karl Girgensohn’s, and I. A. Richards’ first experiments in literary reading at the beginning of the twentieth century, and finishing in the twenty-first century with the field’s international diffusion, its institutionalization, and the groundwork it has laid for current trends
The sacred choral music of Francis Poulenc: a contextual and analytical study
Get PDFPoulenc is perhaps best known for his instrumental works, for his adherence to the aesthetics of Neo-classicism, and his place among the Parisian intellectual circles in tJie 1920s and 1930s in which his friend, Jean Cocteau, played a central role. This essentially secular side of Poulenc's creativity was, after the composer's return to Roman Catholicism in 1936, challenged by a need to express a newly-found religious conviction in sacred music. Consequently Poulenc, who had been accustomed to the secular aesthetics of Neo-classicism of Parisian artistic life and the French capital's concert halls, found it necessary to 'rediscover' and assimilate the language of French church music and its history (notably through the filter of the Cecilian Movement, Niedermeyer and the pkinchant of Solesmes) in order to create for himself an appropriate 'sacred style’ that could also incorporate those essential elements of his characteristically playful and sensual, 'secular' language. This study aims to explore this confrontation of styles and how Poulenc successfully forged a cohesive and congruent language for his sacred works. The opening chapters have several distinct perspectives: chapter one outlines the tortuous history of the Church's relationship with the State in France dating back to the pivotal effects of the 1789 Revolution, in an attempt to provide a necessary context for the importance that Poulenc and his predecessors and contemporaries (most significantly Debussy) attached to the past; chapter two, by contrast, discusses some of the principal issues at the heart of Parisian artistic society in the early decades of the twentieth century and focuses on the lively artistic community which existed in Paris with the influx of large numbers of foreign musicians (particularly Americans and Russians) and artists, the emergence of 'Les Six' (of which Poulenc was a member) and the artistic leadership and inspiration given by figures such as Jean Cocteau, Serge Diaghilev and Igor Stravinsky. Cocteau and Stravinsky, indeed, had a huge impact on the young Poulenc. The second part of the thesis is an analytical study of Poulenc's sacred works (putting aside the Gloria, Stabat Mater and Sept Repais de Tetibres which are unmistakably concert works) and connects these analyses with the issues presented in the earlier chapters, beginning with the emotionally powerful Litanies a la vierge noire for women’s voices, composed soon after his Catholic faith returned in 1936, and ending with the decidedly hard-edged, Stravinskian Neo-classicism, yet relative placidity, of the Laudes de Saint Antoine de Padoue for men's voices, completed in Cannes in 1959. Central to the analytical discussion are the well known eclectic Mass in G (1937), the dramatic Quatre motets pour un temps de penitence (1939) and the stylistically distilled Quatre petite prieres de Saint Francois d'Assise which display the greatest variety of style and form and which combine to present significant examples of Poulenc's skilful unification of sacred and secular, ancient and modem sound worlds
The Beat of the Economic Heart: Joseph Schumpeter and Arthur Spiethoff on Business Cycles
Get PDFThe paper discusses the relationship between Arthur Spiethoff and Joseph A. Schumpeter, the men and their works. Had it not been for Spiethoff Schumpeter would in all probability have forever been lost to scientific work. It was Spiethoff who brought the Austrian back to academia and research after a sequence of serious mishaps in politics and banking. Spiethoff's contribution to an analysis of business cycles is then summarized and important similarities and some differences between it and Schumpeter's are pointed out. The view of Spiethoff and Schumpeter that cycles are endogenous and cannot possibly be eliminated without at the same time eliminating the dynamism of the capitalist economy is then couterposed with views of some of their contemporaries and particularly modern mainstream macroeconomics that this is not so.Schumpeter; Spiethoff; business cycles; innovations; creative destruction
Instructions: General Suggestions to Author (History of American Life)
No full textInstructions for the authors for Arthur M. Schlesinger's series History of American Life. Typed pages. Outlines, composition, topics are covered
Portrait of Senator Arthur Capper.
No full textHandwritten inscription: \u27To my friend F. M. Johnston, In appreciation of his efficient service to the Senate Committee on Finance, and his many courtesies to me personally. Arthur Capper\u27https://egrove.olemiss.edu/fmjohnston/1084/thumbnail.jp
Reading and Rereading Shakespeare’s Sonnets: Combining Quantitative Narrative Analysis and Predictive Modeling
Get PDFNatural reading is rather like a juggling feat, as our eyes and minds are kept on several things at the same time. Instead, reading texts developed by researchers (so-called “textoids”; Graesser, Millis, & Zwaan, 1997) may be fairly simple, since this facilitates an experimental investigation. It thus provides the chance for clear statements regarding the effect of predefined variables. Likewise, most empirical studies focused only a few selected features while ignoring the great diversity of possibly important others (e.g., Rayner et al., 2001; Reichle, Rayner, & Pollatsek, 2003; Rayner & Pollatsek, 2006; Engbert et al., 2005; Rayner, 2009). However, it is not possible to directly transfer the results generated from textoids to natural reading due to the identification of more than 100 features on different hierarchical levels, which may influence processing a natural text (Graf, Nagler, & Jacobs, 2005; Jacobs, 2015a, b; Jacobs et al., 2017).
The present dissertation differed from past research in that it used a literary text, i.e., Shakespeare’s sonnets, instead of texts constructed by the experimenter. The goal of the present dissertation was to investigate how psycholinguistic features may influence the reading behavior during poem perception. To this end, two problems need to be handled: Firstly, complex natural texts need to be broken up into measurable and testable features by “turning words into numbers” (Franzosi, 2010) for the sake of statistical analysis. Secondly, statistical ways were sought to deal with the non-linear webs of correlations among different features, which has long been a concern of Jacob’s working group (e.g., Willems, 2015; Willems & Jacobs, 2016; Jacobs & Willems, 2018). A quantitative narrative analysis (QNA) based predictive modeling approach was suggested to solve the above problems (e.g., Jacobs et al., 2017; Jacobs, 2017, 2018a, b). Since it is impossible to identify all relevant features of a natural text [e.g., over 50 features mentioned for single word recognition (Graf et al., 2005) or over 100 features computed for the corpus of Shakespeare sonnets (Jacobs et al., 2017)] and including more inter/supra-lexical features also requires extending sample sizes (i.e., more/longer texts and more participants), my dissertation focuses on lexical features. Seven of these are surface features (word length, word frequency, orthographic neighborhood density, higher frequency neighbors, orthographic dissimilarity index, consonant vowel quotient, and the sonority score) and two are affective-semantic features (valence and arousal).
By applying the QNA-based predictive modeling approach, I conducted three eye tracking studies: study 1 (Chapter 5) asked English native speakers to read three of Shakespeare’s sonnets (sonnet 27, 60, and 66), aiming to investigate the role of seven surface psycholinguistic features in sonnets reading. Study 2 (Chapter 6) used a rereading paradigm and let another group of English natives read two of the three sonnets (sonnet 27 and 66), to find out whether the roles of the surface psycholinguistic features may be changed in rereading. In study 3 (Chapter 7), I reanalyzed the data of study 2, in which beyond the surface features I started to pay attention to the affective-semantic features, hoping to examine whether the roles of surface and affective-semantic features may be different throughout reading sessions. The three studies show highly reliable data for high feature importance of surface variables, and in rereading an increasing impact of affective-semantic features in reading Shakespeare’s sonnets. From a methodological viewpoint, all three studies show a much better sufficiency of neural net approach than the classical general linear model approach in psycholinguistic eye tracking research. For the rereading studies, in general, compared to the first reading, rereading improved the fluency of reading on poem level (shorter total reading times, shorter regression times, and lower fixation probability) and the depth of comprehension (e.g., Hakemulder, 2004; Kuijpers & Hakemulder, 2018). Contrary to the other rereading studies using literary texts (e.g., Dixon et al., 1993; Millis, 1995; Kuijpers & Hakemulder, 2018), no increase in appreciation was apparent.
In summary, this dissertation can show that the application of predictive modeling to investigate poetry might be far more suitable to capture the highly interactive, non-linear composition of linguistic features in natural texts that guide reading behavior and reception. Besides, surface features seem to influence reading during all reading sessions, while affective-semantic features seem to increase their importance in line with processing depth as indicated by higher influence during rereading. The results seem to be stable and valid as I could replicate these novel findings using machine learning algorithms within my dissertation project. My dissertation project is a first step towards a more differentiated picture of the guiding factors of poetry reception and a poetry specific reading model
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