86 research outputs found
Using the ToBI transcription to record the intonation of Slovene
No full textThe paper presents ToBI, a transcription method for prosodic annotation. ToBI is an acronym for Tones and Breaks Indices which first denoted an intonation system developed in the 1990s for annotating intonation and prosody in the database of spoken Mainstream American English. The MAE_ToBI transcription originally consists of six parts – the audio recording of the utterance, the fundamental frequency contour and four parallel tiers for the transcription of tone sequence, ortographic transcription, indication of break indices between words and for additional observations. The core of the transcription, i. e. of the phonological analyses of the intonation pattern, is represented by the tone tier where tonal variation is transcribed by using labels for high tone and low tone where a tone can appear as a pitch accent, phrase accent and boundary tone. Due to its simplicity and flexibility, the system soon began to be used for the prosodic annotation of other variants of English and many other languages, as well as in different non-linguistic fields, leading to the creation of many new ToBI systems adapted to individual languages and dialects. The author is the first to use this method for Slovene, more precisely, for the intonational transcription and analysis of the corpus of spontaneous speech of Slovene Istria, in order to investigate if the ToBi system is useful for the annotation of Slovene and its regional variants
Using the ToBI transcription to record the intonation of Slovene
No full textThe paper presents ToBI, a transcription method for prosodic annotation. ToBI is an acronym for Tones and Breaks Indices which first denoted an intonation system developed in the 1990s for annotating intonation and prosody in the database of spoken Mainstream American English. The MAE_ToBI transcription originally consists of six parts - the audio recording of the utterance, the fundamental frequency contour and four parallel tiers for the transcription of tone sequence, ortographic transcription, indication of break indices between words and for additional observations. The core of the transcription, i. e. of the phonological analyses of the intonation pattern, is represented by the tone tier where tonal variation is transcribed by using labels for high tone and low tone where a tone can appear as a pitch accent, phrase accentand boundary tone. Due to its simplicity and flexibility, the system soon began to be used for the prosodic annotation of other variants of English and many other languages, as well as in different non-linguistic fields, leading to the creation of many new ToBI systems adapted to individual languages and dialects. The author is the first to use this method for Slovene, more precisely, for the intonational transcription and analysis of the corpus of spontaneous speech of Slovene Istria, in order to investigate if the ToBi system is useful for the annotation of Slovene and its regional variants.Članek predstavlja ToBI, transkripcijsko metodo za zapis prozodičnih dogodkov. ToBI je kratica za Tones and Breaks Indices, ki izvirno poimenuje intonacijski sistem, ki je bil razvit v 90-ih letih prejšnjega stoletja in zgrajen za označevanje intonacije in prozodije v podatkovni bazi govorjene ameriške angleščine (Mainstream American English). MAE_ToBI transkripcija po prvotnem dogovoru sestoji iz šestih delov - iz zvočnega posnetka izreka, zapisa poteka osnovne frekvence in štirih vzporedno poravnanih pasov, ki so namenjeni transkripciji tonskega poteka, ortografskemu zapisu izreka, označevanju jakosti mej med besedami ter zapisovanju dodatnih opazovanj. Jedro zapisa oziroma fonoloških analiz intonacijskega vzorca predstavlja tonski pas, v katerem z oznakami za visoki in nizki ton transkribiramo razlikovalna tonska nihanja. Sistem se je zaradi svoje enostavnosti in prilagodljivosti hitro razširil na prozodično označevanje ostalih variant angleščine in mnogih drugih jezikov ter na različna nelingvistična področja, nastali so številnih novih ToBI-sistemi, prilagojeni posameznim jezikom ali narečjem. Metoda je bila prvič uporabljena za zapis in analizo intonacije na korpusu spontanega govora govorcev v Slovenski Istri z namenom preizkusiti, v kolikšni meri je ToBI primeren za opis intonacije slovenskega jezika in njegovih pokrajinskih različic
Speech Technology, ToBI, and Making Sense of Prosody
No full textThe current paper critically examines why prosodic knowledge has not yet found its way into commercial applications of speech technology. As a key issue of potential improvements to speech recognition and synthesis we identify the capability of understanding and expressing meaning by means of prosodic features of speech. We suggest that even a complete and ‘correct ’ ToBI transcription will always remain some kind of intermediate and possibly incomplete stage of representation between the intended meaning of a message and the resulting speech signal. Examining the correspondences between a version of G-ToBI and the quantitative syllable-based integrated model developed by the author which uses the Fujisaki model for parametrizing F0 contours we conclude that ToBI accent labels can be derived from Fujisaki parameters. Finally we show that perceived prominence which can be thought of as the result of perceptual integration of various prosodic cues with respect to the information structure of an utterance can be reliably predicted from accent command amplitudes and normalized syllabic durations. 1
FMaM3
No full textNacho reads to Tobi from this book -- in this number, outdoors. A full-page cartoon of them precedes each fable and follows the last fable. The latter applies the moral in the daily life of Nacho and Tobi. Those preceding a fable often have a relation to the fable itself. Before the first story, La cigarra y la hormiga, Nacho asks Tobi if he does not want to sit on the grass rather than on a rock. No, there's a cigarra. And? I don't smoke. The six fables here are GA, The Fox and the Lumberjack, DW, The Duck and the Snake, MM, and The Bear, the Monkey, and the Pig. After The Fox and the Lumberjack, Nacho stands over Tobi, flat on his face, and says It was only a lovetap. Tobi pronounces the moral: No niegues con tus actos lo que pregonas con tus palabras. At the beginning of DW, the dog scares the boys by practicing the language of my ancestors, i.e., howling. The Duck and the Snake is new to me and good. The duck is praising himself for being of the water, land, and air. The snake comes close and asks if he can swim like a fish. No. Can he run like a hare? No. Can he fly like an eagle? No. You do everything by halves! Before MM, Tobi gives a clue to the whole series. He has just fallen while carrying Nacho a glass of milk. When I learn to read, I will not need this anymore! Might the this be Nacho? Favors for Nacho? The bear knows he is a bad dancer when the pig applauds his dancing. Chanti's rendition of the falling milk-jug on 37 is fine. Fun with fables might be an apt subtitle for this series. These cartoons and fables would engage a young reader. Text and ballooned sayings in the illustrations complement each other in presenting the story. The closing design has Tobi begging Nacho to come back, and the dog saying What a character!Language note: Spanish1a ediciónVersiones de Cecilia Blanc
FMaM2
No full textNacho reads to Tobi from this book -- in this number, in the bedroom. A full-page cartoon of them precedes each fable and follows the last fable. The latter applies the moral in the daily life of Nacho and Tobi. Those preceding a fable often have a relation to the fable itself. The six fables here are FC, Jupiter and the Saddlebags, BC, DS, The Wolf, the Goat, and the Little Goat, and The Beautiful Girl and the Mirror. This last fable is new to me. The pretty girl asks the mirror regularly how she looks and gets complimentary answers -- until she eats the wrong things and gets pimples all over her face. The mirror tries to avoid the subject but then tells the terrible truth. The cartoon before FC has Nacho in pajamas saying to Tobi, who approaches in pajamas with a hotdog in his mouth: Either you go outside or you spit it out, but I don't want you eating at my side. The dog says Spit it out! Spit it out! The cartoon after FC has mom gushing over Tobi's awful piece of art You're a genius! The cartoon after BC has a parent commanding Nacho to take the dog out, Nacho commanding Tobi to take the dog out, and the dog saying It is easy to consider but difficult to actuate. The cartoon before DS has Nacho ready to read, but the dog, looking into a mirror, says Wait a minute. There is a good looking dog in this mirror. The same wolf's paw that reveals a wolf and not a goat-mother in the story reaches out from under the bed in the fine combination illustration on this book's front cover. Fun with fables might be an apt subtitle for this series. These cartoons and fables would engage a young reader. Text and ballooned sayings in the illustrations complement each other in presenting the story. The closing design has Nacho, Tobi, and the dog all peacefully asleep with this book on Nacho's lap.Language note: Spanish1a ediciónVersiones de Cecilia Blanc
Casting Fu Manchu by Eelyn Lee [performance review]
No full textIn lieu of an abstract, here is a brief excerpt of the content:
Reviewed by: Tobi Poster-Su
CASTING FU MANCHU. By Eelyn Lee. Chinese Arts Now Digital Commission, UK. Streamed, December 1, 2020.
Dr. Fu Manchu, the archetypal supervillain invented by English author Sax Rohmer in the 1910s and featured in countless Hollywood portrayals from the 1920s to the 2000s, has been described by scholars such as Ruth Mayer as the embodiment of Yellow Peril, an ideological construction of East Asia that William F. Wu regards as so pervasive within Western culture as to fundamentally shape both public perception and political policy.
Perhaps fittingly, Fu Manchu has not been portrayed in any major film production by a Chinese or East Asian performer. Instead, the character has been portrayed by white men engaging in makeup-assisted racial mimicry (a practice explored in David Henry Hwang’s 2007 play Yellow Face). This fact formed the backdrop for Eelyn Lee’s digital short, Casting Fu Manchu, for which Lee invited East and Southeast Asian performers to submit audition self-tapes of sides taken directly from classical Hollywood films featuring the character. These self-tapes, which featured prominently within the performance itself, created an opportunity for performers to subvert and reappropriate a character whose legacy can be seen as directly connected to the current resurgence in anti-Chinese sentiment
Mothering, addiction, and recovery behind bars: a collaborative essay
No full textIncludes bibliographical references.The goal of this project is to create a collaborative essay focusing on the experiences of mothering, addiction, and recovery that incarcerated women face. Too often imprisoned women are ignored or criticized, relegated to an untenable space as a statistic or an unnamed casualty (Enos, 2000; Solinger et al, 2010; Haney, 2010; Jacobi and Stanford, 2014). The essay will be co-authored by three women who co-facilitate writing workshops through the Community Literacy Center at a county jail and four women who are held at the jail. This core group will offer their own views, their own definitions of addiction, their own experiences with mothering, and what these terms mean to them. The group will begin with stories, stories that unfold through their essay and that have been published in the SpeakOut journals that emerge twice annually across more than a decade of dedicated writing workshops. The writers are committed to collaborative authorship and will use a range of participatory methods to invite imprisoned mothers to co-author this story. They will distribute a call for contributions in the housing unit and invite the lead co-authors to engage in both reflection and autoethnographic/lifewriting. As a team the writers will review selected published poems and writing from the Speak/Out Journal in order to understand the breadth of experience that women have chosen to document. This essay will not only offer up those voices, but will actively engage currently incarcerated women in the shaping and crafting of the writing and perspectives the writers offer
FMaM4
No full textNacho reads to Tobi from this book -- in this number, on a camping trip. The six fables here are LM, The Horse and the Wolf, MSA, The Monkey, FS, and The Crow and the Peacock. A full-page cartoon of them precedes each fable and follows the last fable. The latter applies the moral in the daily life of Nacho and Tobi. Those preceding a fable often have a relation to the fable itself. La Mona is new to me. It begins with this proverb: Although the monkey is dressed in silk, she remains a monkey. Many follow the female monkey dressed in silk, but does she know where she is going? Chanti's best effort here may be the scene in which the Miller and his son carry the ass (23). They do so with great effort! This burro likes it, and he is angered on the next page when he has to walk on his own. Fun with fables might be an apt subtitle for this series. These cartoons and fables would engage a young reader. Text and ballooned sayings in the illustrations complement each other in presenting the story.Language note: Spanish1a ediciónVersiones de Cecilia Blanc
The VaCo Mould, a research about a new moulding principle for double curved concrete panels
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