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Stanza
About: Stanza is a research topic. Over the lifetime, 613 publications have been published within this topic receiving 3105 citations.
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16 Mar 2020
TL;DR: This work introduces Stanza, an open-source Python natural language processing toolkit supporting 66 human languages that features a language-agnostic fully neural pipeline for text analysis, including tokenization, multi-word token expansion, lemmatization, part-of-speech and morphological feature tagging, dependency parsing, and named entity recognition.
Abstract: We introduce Stanza, an open-source Python natural language processing toolkit supporting 66 human languages Compared to existing widely used toolkits, Stanza features a language-agnostic fully neural pipeline for text analysis, including tokenization, multi-word token expansion, lemmatization, part-of-speech and morphological feature tagging, dependency parsing, and named entity recognition We have trained Stanza on a total of 112 datasets, including the Universal Dependencies treebanks and other multilingual corpora, and show that the same neural architecture generalizes well and achieves competitive performance on all languages tested Additionally, Stanza includes a native Python interface to the widely used Java Stanford CoreNLP software, which further extends its functionality to cover other tasks such as coreference resolution and relation extraction Source code, documentation, and pretrained models for 66 languages are available at https://stanfordnlpgithubio/stanza/
1,040 citations
TL;DR: In this article, a piece of legal theory about the Stanza of Anglo-Saxon Poetry is discussed, and the author invokes Lewis Carroll's authority on the interpretation of the poem.
Abstract: European and American scholars of law and society apparently have problems in communicating with each other. To invoke Lewis Carroll’s authority on a piece of legal theory indicates how serious the problems are. After all, traced to its true origins, “Jabberwocky”, the famous “Stanza of Anglo-Saxon Poetry”1 means “weeks of woe” in its original German version.2 And inextricably involved in the interpretation of the poetry is a certain Hermann von Schwindel...
130 citations
TL;DR: This article found that Japanese children's narratives are usually free-standing collections of three experiences, and stanzas almost always consist of three lines, reflecting the basic characteristics of haiku, a commonly practiced literary form.
Abstract: Conversational narratives of 17 Japanese children aged 5 to 9 were analyzed using stanza analysis (Gee 1985; Hymes 1982). Three distinctive features emerged: (1) the narratives are exceptionally succinct; (2) they are usually free-standing collections of three experiences; (3) stanzas almost always consist of three lines. These features reflect the basic characteristics of haiku, a commonly practiced literary form that often combines poetry and narrative, and an ancient, but still ubiquitous game called karuta, which also displays three lines of written discourse. These literacy games may explain both the extraordinary regularity of verses per stanza and the smooth acquisition of reading by a culture that practices restricted, ambiguous, oral-style discourse. The structure of Japanese children's narratives must be understood within the larger context of omoiyari “empathy” training of Japanese children. Empathy training may account for the production, comprehension, and appreciation of ambiguous discourse in Japanese society. (Cultural differences in discourse style, the relationship among oral language, literacy, and literature)
95 citations
TL;DR: The final stanza of the children's poem Helping reminds us of a simple caveat we all would be well advised to consider: "Some kind of help is the kind of helping that helping's all about" as discussed by the authors.
Abstract: The final stanza of the children’s poem Helping reminds us of a simple caveat we all would be well advised to consider: ‘Some kind of help is the kind of help that helping’s all about. And some kin...
84 citations
TL;DR: In this article, a young American scholar named Gary Taylor reported a remarkable discovery: he had found in an early seventeenth-century manuscript collection of poems a hitherto unnoticed poem ascribed to Shakespeare.
Abstract: Two YEARS AGO a young American scholar named Gary Taylor reported a remarkable discovery: he had found in an early seventeenth-century manuscript collection of poems a hitherto unnoticed poem ascribed to Shakespeare. The ascription seemed to him trustworthy largely because of the nature of the manuscript itself, which contains a number of known poems almost all of which are correctly identified by the scribe, and he also noted a number of verbal parallels between the manuscript poem and other works by the playwright. Several well-known Shakespearean scholars who were shown the evidence before it was released to the press agreed with Taylor that there was good reason to believe the poem was authentic. But as soon as the story appeared in the papers, the objections were loud and almost universal. For the most part they were based on the manifest inferiority of the poem, and indeed Taylor admitted that it is a pretty awful piece of writing. Here, for example, is a particularly unShakespearean stanza:
54 citations