This thesis explores the classification of emotions in song lyrics, using automatic approaches applied to a novel corpus of 100 popular songs. I use crowd sourcing via Amazon Mechanical Turk to collect line-level emotions annotations for this collection of song lyrics.  I then build classifiers that rely on textual features to automatically identify the presence of one or more of the following six Ekman emotions: anger, disgust, fear, joy, sadness and surprise. I compare different classification systems and evaluate the performance of the automatic systems against the manual annotations. I also introduce a system that uses data collected from the social network Twitter. I use the Twitter API to collect a large corpus of tweets manually labeled by their authors for one of the six emotions of interest. I then compare the classification of emotions obtained when training on data automatically collected from Twitter versus data obtained through crowd sourced annotations.

The People’s Poets of Texas: Literature Born Within the Singer/Songwriter Tradition of the Last Forty Years is a creative nonfiction exploration of the poetry found within the songs of multiple generations of modern Texas singer/songwriters and a case for the consideration of their work as a genuine regional literature. Studying the roots of Texas music, the musicality of Texan manners of speech and storytelling, and re-examining the Austin, Texas music scene of the 1970s that brought a national focus to the organic, reciprocal manner in which Texas music is traditionally experienced, radically altered the ways in which the songs were written, recorded, and marketed. An examination of this phenomenon allows us to understand that, first, a proliferation of Texas singer/songwriters of unprecedented quality has emerged in recent decades and that, second, a legitimate people's literature is emerging from their song-craft.

This study examined the mediating effect of hostility towards women on the relationship between exposure to misogynistic rap music and acceptance of violence towards women. Additionally, the impact of male hostility towards women on the relationship between consuming rap music and acceptance of rape myths and general attitudes towards violence were also examined. Participants for this study were 87 high and low-hostile college males between the ages of 18 and 25, who were randomly assigned to one of three exposure conditions (sexually-violent/degrading condition, generally violent condition and a non-violent/ control condition). Results indicated that men exposed to misogynistic rap music endorsed significantly greater acceptance of violence towards women than those in the non-violent/control condition did. Also, men with a high level of hostility towards women endorsed significantly greater acceptance of violence towards women, a significantly greater acceptance of rape myths and endorsed significantly more positive attitudes towards violence than low hostile men. Although no interaction effects were found between music condition and hostility level, this study provides empirical evidence of the potential deleterious influence of exposure to misogynistic rap music lyrics on men's acceptance of violence towards women. / Ph. D.

No description available.

No description available.

No description available.

The aim of the study is to investigate song lyrics within rap and pop music from a cultural and a gender perspective, focusing on the depiction of women. The investigation focuses on the nouns the songwriter use to refer to the concept of woman. Twenty songs from each genre are conveyed in this study. The results show that rap lyrics contain multiple nouns referring to the concept of woman that depict women in a negative way. Pop lyrics do not contain these words and thus have a more positive way of depicting women. Nouns that occur in both genres tend to be of positive value whereas nouns that are only represented in the rap genre tend to be of negative value, something that indicates these nouns to be bearers of cultural values. It is easier to distinguish hip-hop culture, of which rap is a part, due to the fact that it consists of distinctive language that is highly connected to that particular genre. Pop music however, is very broad and also more difficult to distinguish as a unique culture compared to hip-hop. The language used in pop lyrics is rather commonplace and does not stand out in the crowd as the language in rap lyrics does.

Submitted by SANDRA APARECIDA FERNANDES LOPES FERRARI null (sandrafferrari@hotmail.com) on 2016-11-01T01:57:22Z No. of bitstreams: 1 Lírica e Interlocução em Hilda Hilst.pdf: 1215415 bytes, checksum: 7f56053ee37f0ebf938389e10bf86229 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-11-03T18:32:29Z (GMT) No. of bitstreams: 1 ferrari_safl_dr_sjrp.pdf: 1126923 bytes, checksum: 5baf9589157c16a378d61024cb17443f (MD5) / Made available in DSpace on 2016-11-03T18:32:29Z (GMT). No. of bitstreams: 1 ferrari_safl_dr_sjrp.pdf: 1126923 bytes, checksum: 5baf9589157c16a378d61024cb17443f (MD5) Previous issue date: 2016-08-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Com este trabalho de pesquisa, pretendemos averiguar a constituição interlocutiva da lírica e suas implicações para os estudos literários, tomando como ponto de análise as obras Cantares do sem nome e de partidas, Do Desejo e Ode descontínua e remota para flauta e oboé: De Ariana para Dionísio, de Hilda Hilst. O objetivo principal consiste em refletir sobre as relações tensivas entre o “eu” e o “outro” que tais obras apresentam, e de que modo esses procedimentos artísticos atribuem sentidos à subjetividade lírica de seus versos por meio de um processo de interlocução. Partimos das relações estabelecidas por teóricos que pensaram sobre a definição do gênero lírico e suas formas de representação, começando por Hegel, em Curso de estética, vol. IV; Emil Staiger, em Conceitos fundamentais da poética e Yves Stalloni, em Os gêneros literários, contrastando a ideia de exteriorização do eu de Hegel com a ideia do “sujeito lírico fora de si” de Michel Collot, na constituição da voz lírica hilstiana. Para estabelecer conexões do texto poético com seu interlocutor, traremos também para reflexão a dialética entre as vozes, no ensaio As três vozes da poesia. (1972), de T.S. Eliot, em que será possível traçar o percurso de lírica e interlocução. A partir dessas relações, buscaremos compreender o lugar que ocupa a poesia de Hilda Hilst no panorama artístico brasileiro. / In this research paper we intend to investigate the interlocution of the lyric and its implications for the literary studies, taking as analysis point the literary works Cantares do sem nome e de partidas, Do Desejo e Ode descontínua e remota para flauta e oboé: De Ariana para Dionísio de Hilda Hilst . The main objective is to think about the relationships between “the speaker” and the “other” that such works present, and how these artistic procedures give meaning to the lyric subjectivity of their verses, through a process of interlocution. The starting point is the relations established by the theorists who thought about the definition of lyrical gender and its representations, starting with Hegel, in Curso de Estética, Vol. IV, Emil Staiger, in Conceitos Fundamentais da Poética and Ives Satalloni, in Os Gêneros Literários, in constrast to the idea of externalization of the “speaker” of Hegel with the idea from the lyrical subject “out of his mind” from Michel Collot, in the constitution of the hilstiana lyrics voice. For this, we will also bring to reflection the dialectics between the voices, in the essay As Três Vozes da Poesia (1972), by T.S. Eliot, where it is possible to set a route of lyrics and interlocution. From this relations we will seek to understand the place that the poetry of Hilda Hilst occupies in Brazilian art scene.

No description available.

No description available.