Book•
On Puns: The Foundation of Letters
01 Jun 1988-
TL;DR: Culler et al. as discussed by the authors published a collection of essays about the role of race relations in the development of the Internet and its role in the Internet, including the following:
Abstract: Previously Published by Basil Blackwell, Inc. 432 Park Avenue South, Suite 1503, New York, NY 10016. Copyright 2005 by Jonathan Culler. All rights reserved.
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91 citations
01 Jul 2015
TL;DR: This paper describes how traditional, language-agnostic WSD approaches can be adapted to "disambiguate" puns, or rather to identify their double meanings and evaluates several such approaches on a manually sense-annotated corpus of English puns.
Abstract: Traditional approaches to word sense disambiguation (WSD) rest on the assumption that there exists a single, unambiguous communicative intention underlying every word in a document. However, writers sometimes intend for a word to be interpreted as simultaneously carrying multiple distinct meanings. This deliberate use of lexical ambiguity---i.e., punning---is a particularly common source of humour. In this paper we describe how traditional, language-agnostic WSD approaches can be adapted to "disambiguate" puns, or rather to identify their double meanings. We evaluate several such approaches on a manually sense-annotated corpus of English puns and observe performance exceeding that of some knowledge-based and supervised baselines.
65 citations
Book•
01 Jan 2002TL;DR: Rimell as discussed by the authors argues that the surviving fragments of the Satyricon are connected by an imagery of disintegration, focused on the pervasive Neronian metaphor of the literary text as a human or animal body.
Abstract: Petronius' Satyricon, long regarded as the first 'novel' of the Western tradition, has always sparked controversy. It has been puzzled over as a strikingly modernist riddle, elevated as a work of exemplary comic realism, condemned as obscene and repackaged as a morality tale. This reading of the surviving portions of the work shows how the Satyricon fuses the anarchic and the classic, the comic and the disturbing, and presents readers with a labyrinth of narratorial viewpoints. Dr Rimell argues that the surviving fragments are connected by an imagery of disintegration, focused on the pervasive Neronian metaphor of the literary text as a human or animal body. Throughout, she discusses the limits of dominant twentieth-century views of the Satyricon as bawdy pantomime, and challenges prevailing restrictions of Petronian corporeality to material or non-metaphorical realms. This 'novel' emerges as both very Roman and very satirical in its 'intestinal' view of reality.
62 citations
Book•
16 Mar 2010
TL;DR: In this article, a survey of primary and secondary literature and my practice as a professional artist using electronic information delivery systems has been used for the creation of an interactive art work, authored so that emergent meaning can be examined and explored within a specific generative virtual environment by a variety of participants.
Abstract: This research derives from a survey of primary and secondary literature and my practice as a professional artist using electronic information delivery systems. The research has informed the creation of an interactive art work, authored so that emergent meaning can be examined and explored within a specific generative virtual environment by a variety of participants. It addresses a series of questions concerning relationships between the artist, the art work and the viewer/user. The mutable nature of this computer-based space raises many questions concerning meaning production, i.e., how might such a technopoetic mechanism relate to past practices in the arts, and in particular how might its use affect our understanding of theories of meaning? If the outcome of this part of the research suggests a radical transformation in meaning production as dynamically encountered through interactivity with a generative work of art, then how might the construction of this device inform a new field of practice? The scope of the topic and the secondary questions that flow from the initial speculation focus on the inter-conveyance of text (both spoken and written), image (both still and time-based) and music, as encountered by participants through interactive engagement within an authored and inter-authored virtual environment. The method has been to extend the realm of a series of theoretical positions relative to these areas as they appear in the mainstream literatures on art and interactivity, meaning and understanding. A virtual interactive art work has been developed in parallel to the literature survey and exhibited in Europe and Japan. The conclusions have been drawn by the author on the basis of a series of theoretical positions that examine the operative nature of an art work which is intended to generate emergent meaning. Future research is also discussed that seeks to extend our understanding and use of generative virtual environments.
41 citations
TL;DR: This study of the Hamnet Players, a group who perform parodies of Shakespeare and Tennessee Williams on IRC (Internet Relay Chat), focuses primarily on their first production, a hilarious parody of Hamlet, called “Hamnet”.
Abstract: This is a study of the Hamnet Players, a group who perform parodies of Shakespeare and Tennessee Williams on IRC (Internet Relay Chat). We focus primarily on their first production, a hilarious parody of Hamlet, called “Hamnet”. The main source of humor is the playfully irreverent juxtaposition of Shakespearean plot, characters and language with materials from Net and IRC culture. Hamnet productions are currently primarily textual, but the players are already experimenting with graphics and sound. We analyze (1) the substantive and stylistic features of the “Hamnet” script; (2) the logistics of virtual production; (3) improvisational play with the Shakespearean canon, the “theater game,” language itself, the IRC software, and the situation of typed online interaction. Our approach draws on sociolinguistics and discourse analysis; the ethnography of oral genres of verbal art; Shakespearean studies and analyses of literary genres; research on communication and popular culture; and recent studies of language, play and performance in computer-mediated communication. Hamnet productions are not only experiments in virtual theater; they are also carnivals of wordplay, chock-full of wit and humor. They provide new and important evidence for the rise of interactive digital writing as stylized performance.
36 citations