This thesis deals with the detection of three rhetorical figures based on repetition of words: chiasmus (“Fair is foul, and foul is fair.”), epanaphora (“Poor old European Commission! Poor old European Council.”) and epiphora (“This house is mine. This car is mine. You are mine.”). For a computer, locating all repetitions of words is trivial, but locating just those repetitions that achieve a rhetorical effect is not. How can we make this distinction automatically?  First, we propose a new definition of the problem. We observe that rhetorical figures are a graded phenomenon, with universally accepted prototypical cases, equally clear non-cases, and a broad range of borderline cases in between. This makes it natural to view the problem as a ranking task rather than a binary detection task. We therefore design a model for ranking candidate repetitions in terms of decreasing likelihood of having a rhetorical effect, which allows potential users to decide for themselves where to draw the line with respect to borderline cases.  Second, we address the problem of collecting annotated data to train the ranking model. Thanks to a selective method of annotation, we can reduce by three orders of magnitude the annotation work for chiasmus, and by one order of magnitude the work for epanaphora and epiphora. In this way, we prove that it is feasible to develop a system for detecting the three figures without an unsurmountable amount of human work.  Finally, we propose an evaluation scheme and apply it to our models. The evaluation reveals that, even with a very incompletely annotated corpus, a system for repetitive figure detection can be trained to achieve reasonable accuracy. We investigate the impact of different linguistic features, including length, n-grams, part-of-speech tags, and syntactic roles, and find that different features are useful for different figures. We also apply the system to four different types of text: political discourse, fiction, titles of articles and novels, and quotations. Here the evaluation shows that the system is robust to shifts in genre and that the frequencies of the three rhetorical figures vary with genre. / Denna avhandling behandlar tre retoriska figurer som bygger på upprepning av ord, kiasm (“Om inte Muhammed kan komma till berget får berget komma till Muhammed.”), anafor (“Det är inte rimligt. Det är inte hållbart. Det är inte rättvist.”), och epifor (“Den här stugan är min. Den här bilen är min. Du är min.”). En dator kan lätt identifiera upprepningar av ord i en text, men att urskilja enbart de upprepningar som har en retorisk effekt är svårare. Hur kan vi få datorer att göra detta? För det första föreslår vi en ny definition av problemet. Vi noterar att retoriska figurer är ett graderbart fenomen, med prototypiska fall å ena sidan, och klara icke-fall å andra sidan; däremellan finns ett brett spektrum av gränsfall. Detta gör det naturligt att se problemet som en uppgift som gäller rangordning snarare än binär klassificering. Vi skapar därför en modell för att rangordna repetitioner efter sannolikheten att de har en retorisk effekt. Därigenom tillåts  systemets användare att själva avgöra hur gränsfall ska hanteras. För det andra försöker vi undvika tänkbara svårigheter med att samla in annoterade data för att träna modellen för rangordning. Genom att använda en selektiv metod kan vi reducera mängden annoteringsarbete tusenfalt för kiasm och tiofalt för anafor och epifor. Det är alltså möjligt att utveckla ett system för att identifiera de aktuella retoriska figurerna utan en stor mängd manuell annotering. Slutligen föreslår vi en metod för utvärdering och tillämpar den på våra modeller. Utvärderingen visar att vi även med en korpus där få exempel är annoterade kan träna ett system för identifiering av repetitiva figurer med godtagbart resultat. Vi undersöker effekten av olika särdrag som bygger på t.ex. längd, n-gram, ordklasser och syntaktiska roller. En slutsats är att olika särdrag är användbara i olika grad för olika figurer. Vi prövar också systemet på ytterligare texttyper: politisk diskurs, skönlitteratur, titlar på artiklar och romaner, samt citat. Utvärderingen visar att systemet är robust vad gäller genreskillnader. Vi ser även att figurernas frekvens varierar över olika genrer.

The mode of carrying out literary spatial studies—or literary geography—has largely shifted to embrace digital methods and tools, culminating in the field of geospatial humanities. This shift has affected the scope of research questions that scholars can ask and answer using digital methods. Although there many continuities between non-digital and digital spatial studies, there are some fundamental points of departure in the critical processes that are involved in carrying out geospatial humanities research, including data modelling, prototyping, and multidisciplinary collaboration, that demand a revisit of the ways that knowledge production and analysis are carried out in the humanities. First there is thinking about how data models, prototypes, and digital projects embed within themselves spatial methodologies and spatial theory that form the foundation of humanities-oriented spatial inquiry. In addition, collaborating across multidisciplinary groups involves working toward shared project goals, while ideally ensuring that individual team members are drawing benefit from the collaborative research experience. Another factor has to do with creating rich and accurate data models that can capture the complexity of their subject of inquiry for meaningful humanities research. This dissertation addresses each of the aforementioned challenges through practical applications, by focusing not only on the literary contributions of geospatial humanities, but also engaging the critical processes involved in this form of digital research. By designing and co-creating three geospatial prototypes, TopoText, TopoText 2.0, and A Map of Paradise Lost, my goal is to demonstrate how digital objects can embody spatial theory and methodologies, and to portray how traditional literary studies approaches such as close reading and literary interpretation can be combined with digital methods that enable interactivity and mixed-media visualizations for an immersed literary geography analysis. The first two chapters translate a literary theory and method of analysis, geocriticism, into a digital prototype and iteratively improve on it to demonstrate the type of research made possible through a digital geocritical interpretation. In that part of the dissertation, I also address the challenges involved in translating a literary framework into a digital environment, such as designing under constraint, and discuss what is lost in translation alongside what is gained (McCarty 2008). Chapter three demonstrates how technological advances enable scholars to build community-university partnerships that can contribute to humanities scholarship while also making research findings publicly available. In particular, the chapter argues that scholars can draw on Volunteered Geographical Information to create rich cultural gazetteers that can inform spatial humanities research. The final two chapters demonstrate how a geospatial prototype that is fueled by rich data and embeds other types of media can inform literary interpretation and help make arguments. By focusing on the process of building A Map of Paradise Lost—a geospatial humanities text-to-map project that visualizes the locatable places in John Milton’s Paradise Lost—the closing chapter addresses the question “why map literature?” and demonstrates how the process of research prototyping is in itself a form of knowledge production. Since the methods and technologies that inform geospatial humanities research are rapidly evolving, this dissertation adopts a portfolio model and consists of five released and one forthcoming publications, as well as three published prototypes. Together, they form a digital dissertation, meaning that the digital component comprises a significant part of the intellectual work of the dissertation. Reflecting the collaborative nature of digital humanities research, some articles were co-authored and all three prototypes were co-developed. In all components of this dissertation, I took on the leading role in the publication and prototype development, which is detailed at the beginning of every chapter. / Graduate

Désormais, nous sommes tous photographes. Nos téléphones intelligents nous permettent de capter, de modifier et de partager nos clichés sur les réseaux en moins d’une minute, tant et si bien que l’image photographique est devenue une nouvelle forme de langage. Réciproquement, serions-­‐nous également tous écrivains ? Il existe en effet une véritable légitimité historique à penser que la notion d'écrivain, comme celle de photographe, s'étend le long d'un paradigme allant de la « simple » possession d'une aptitude technique jusqu'à la gloire des plus fortes figures de la vie culturelle collective. Cette thèse vise à déterminer comment se constitue une nouvelle mythologie de l’image photographique à l’ère du numérique, comprenant aussi bien la réévaluation du médium argentique vieillissant que l’intégration d’un imaginaire propre à ces technologies dont nous n’avons pas encore achevé de mesurer l’impact culturel sur nos sociétés. À cet égard, la perspective littéraire est riche d’enseignements en termes culturels, esthétiques ou même ontologiques, puisque la littérature, en sa qualité de relais du fait photographique depuis près de deux siècles, a pleinement participé à son invention : c’est là du moins l’hypothèse de la photolittérature. En cette période de transition technologique majeure, il nous revient de cerner les nouvelles inventions littéraires de la photographie, pour comprendre aussi bien les enjeux contemporains du fait photographique que ceux de la littérature / Nowadays, we are all photographers. Our smart phones allow us to take, edit and share our snapshots on social media in less than a minute, to the extent that the photographic image has become a new form of language. Reciprocally, have we all become writers as well? There truly is historical legitimacy in seeing the notion of the writer, like that of the photographer, as spanning a paradigmal spectrum, running from “simple” possession of technical aptitude, to the glory of the loftiest figures in our collective cultural life. This thesis aims to determine how the new mythology around the photographic image takes shape in the digital age, while also re-­‐evaluating the aging medium of film, as well as integrating a newly imagined sphere of ideas surrounding these new technologies, for which we have yet to measure the cultural impact on our societies. In this respect, a literary perspective is rich in cultural and even ontological lessons, since literature has interacted with photography for nearly two centuries, and thus contributed to its invention : this is at least the central hypothesis of photoliterature. In this period of major technological transition, we must therefore identify photography’s new literary inventions, so that we can better understand the contemporary issues surrounding both the worlds of photography and literature.

Les projets en humanités numériques utilisent de plus en plus des méthodes de collaboration axées sur le public, telles que le crowdsourcing pour atteindre les objectifs de recherche, de conservation et d’édition scientifique en sciences humaines et sociales. Par exemple, le crowdsourcing représente une opportunité pour accélérer les projets de transcription pour des communautés de chercheurs qui travaillent traditionnellement dans des circuits-fermés. Certaines questions importantes soulevée par les chercheurs et les érudits concernent notamment l’intérêt de la méthode, et en particulier la qualité des résultats obtenus avec cette méthode. En outre, l’efficacité du crowdsourcing pour les humanités numériques n’est pas documenté dans la littérature. Se pose ainsi la question de savoir si le public peut produire du matériel pouvant être par la suite utilisé pour des éditions scientifiques, auxquels cas, pour quel type de projet et combien de post-traitement ou corrections seront nécessaires.Cette thèse de doctorat examinera le potentiel apport du crowdsourcing des transcriptions pour les projets d’édition scientifique en humanités numériques. Pour cela, nous allons premièrement explorer les technologies et les techniques disponibles pour produire les transcriptions sous format XML en ligne. Deuxièmement, ayant développé et testé une plateforme internet de transcription que nous présenterons, nous pourrons examiner les besoins des utilisateurs vis-à-vis des environnements de travail collaboratifs fondées sur les retours des utilisateurs et les environments de crowdsourcing industriels existants. Troisièmement, les données récoltées seront soumises à une analyse numérique qui permettra de comparer les productions des experts et celle des non-experts en s’appuyant sur les mesures de distances entre documents. Les résultats obtenus permettront de déterminer le potentiel apport du crowdsourcing pour les projets d’édition numérique scientifique. Enfin, le travail se terminera avec une discussion sur les implications des travaux actuels et présentera des opportunités pour des recherches futures sur le terrain. / Projects in digital humanities increasingly employ public-oriented collaboration methods such as crowdsourcing to achieve objectives that include research, conservation and scholarly editing in the humanities and social sciences. For example, crowdsourcing presents an opportunity to quicken the pace of progress for transcription projects for research communities that have traditionally operated within closed circuits. Some important questions raised by researchers and scholars concern the benefits of using this method and in particular the quality of results that can be obtained. Meanwhile, literature that evaluates the efficacy of crowdsourcing for digital humanities projects is insufficient. Questions as to whether the public can produce material that can be used for scholarly editions, in which cases, for which types of projects, and how much post-processing or corrections will be required, continue to occupy discussions on the matter.This doctoral thesis will examine the potential benefits of crowdsourced transcription for scholarly editing projects in the digital humanities. Firstly, by exploring the technologies and techniques available to render online transcription in XML possible. Secondly, by developing and testing an online transcription platform, which will allow to examine user needs for collaborative work environments based on user responses and existing industrial crowdsourcing environments. Thirdly, the data collected will be subjected to digital analysis to compare the productions of non-expert transcribers to those of expert transcribers on the basis of document distance measurements. The results will be interpreted to determine the potential benefits of crowdsourcing for digital scholarly editing projects. Finally, the work will conclude by discussing the implications of current work and presenting opportunities for future research in the field.

This diploma thesis deals with the topic of preserving cultural heritage in the context of digital humanities. The topic of this work will be the presentation of modern tools and technologies aimed at preserving cultural memory in Europe. The aim of this work will be to map the benefits and potential risks of digital infrastructures CESSDA, ARIADNE PLUS and DARIAH-EU for the preservation of cultural heritage. The work will be divided into three parts - the theoretical part will briefly introduce the topic of digital humanities and their studies, the concept of big data and the transformation of digital archives in the context of digital humanities. The analytical part will focus on mapping the current situation of cultural heritage preservation in Europe. The last practical part will offer an analysis of the advantages and disadvantages of digital infrastructures ARIADNE PLUS, CESSDA and DARIAH-EU both for the preservation of cultural heritage and for research in the social sciences and humanities.

No description available.

Historians, mostly engaging with written evidence, have argued that the Christianisation of the Roman Empire resulted in changes in both attitudes and behaviour towards children, resulting in a decrease in their maltreatment by society. I begin with a working hypothesis that this attitude-change was real and resulted in a reduction in the maltreatment of children; and that this reduction in maltreatment is evident in the literature. The approach to investigating this hypothesis belongs to the emerging field of digital humanities: by using programming techniques developed in the field of sentiment analysis, I create two sentiment-analysis like tools, one a lexicon-based approach, the other an application of a naive bayes machine learning approach. The latter is favoured as more accurate. The tool is used to automatically tag sentences, extracted from a corpus of texts written between 100 B.C and 600 A.D, that mention children, as to whether the sentences feature the maltreatment of children or not. The results are then quantitively analysed with reference to the year in which the text was written, with no statistically significant result found. However, the high accuracy of the tool in tagging sentences, at above 88%, suggests that similar tools may be able to play an important role, alongside traditional research techniques, in historical and social-science research in the future.

Cette thèse, qui a pris pour point de départ l’inventaire des recueils collectifs de poésies fourni par le bibliographe Frédéric Lachèvre, vise à établir le rôle qu’ont joué les recueils poétiques polygraphiques dans la publication, la pratique et la réception de la poésie au XVIIe siècle.Au XVIIe siècle, en effet, les recueils collectifs deviennent le principal mode de publication imprimée de pièces poétiques inédites. Ces imprimés n’ont jusqu’à présent fait l’objet d’aucune analyse systématique suivie. Pour rendre compte à la fois des recueils, de leur évolution entre 1597 et 1671 et des pièces qu’ils publient, ce travail utilise une approche double.D’une part, il propose une typologie des recueils en général qui permet une étude de la place et du rôle des recueils collectifs de poésies parmi les publications du temps.D’autre part, à l’aide d’une base de données recensant plus de 10 000 pièces, cette thèse analyse les poèmes publiés dans les recueils collectifs de poésies selon plusieurs critères : forme, genre, composition, thème. L’exploitation du contenu de ces recueils par l’outil numérique permet de rendre compte de diverses évolutions et d’isoler les pièces les plus représentatives de certaines périodes.Cette étude contribue à notre connaissance de la poésie entre 1597 et 1671 parce qu’elle prend en considération tous les auteurs publiés et le mode de publication majeur de la poésie à l’époque : le recueil collectif. Dans une perspective diachronique, elle affine notre connaissance des différents courants poétiques qui se succèdent au cours de cette époque. Dans une perspective synchronique, en exploitant la base de données, elle entreprend de dégager les principaux traits stylistiques et métriques caractérisant les pièces d’une même période. Enfin, croisant l’histoire du livre et l’analyse sociocritique, ce travail s’intéresse au recueil en tant qu’objet commercial et aux usages que libraires, auteurs et lecteurs en font. / This study examines poetry collections printed in France between 1597 and 1671. During this period, poetry is not published as the work of an author, but integrated into collections, which unite the works of various authors. While Frédéric Lachèvre has alerted us to the importance of the phenomenon through his bibliography (Bibliographie des recueils collectifs publiés de 1597 à 1700), a systematic study on 17th century poetry collections is still missing. How did these collections influence the way poetry was written, read and published? To answer this question, this study uses a two-fold approach.I carve out a typology of 17th century text collections with the aim of determining their importance in the editorial practice of the time. A database containing information on 10 000 poems, developed specifically for this study, enables us to analyse these texts following various criteria (poetic form, metre, subject, composition) and further to identify the most typical pieces of certain decades.Instead of focusing on individual poets, this study centres around the prevailing way of publishing poetry in 17th century France. Thanks to this general approach it is able to identify different poetical and aesthetical movements of the time. Moreover, with the help of the database, I can isolate the stylistic characteristics that identify poems composed during the same period. This study finally considers 17th century poetry collections as an historical and commercial object. By taking into account studies on book history and the socio-cultural context, it discusses how these collections were composed, produced and read.

No description available.

No description available.