Simulations and difficult problems

2019 ◽  
Author(s):  
David L Hoover
Keyword(s):  
Early Modern ◽  
Authorship Attribution ◽  
The Third ◽  
Adequate Number ◽  
Uncertain Evidence ◽  
N Gram ◽  
Problematic Situations ◽  
Initial Uncertainty ◽  
Number Of Authors

Abstract An authorship attribution investigation ideally begins with a well-defined set of possible authors and an adequate number of firmly attributed roughly contemporaneous long texts in the same genre by those authors. Many significant or intriguing problems, however, suffer from deficiencies or limitations that reduce the effectiveness or validity of some kinds of analysis and make others impossible. These problematic situations can be approached by creating simulations that are designed to overcome or mitigate the difficulties of the problems. The results of the simulations can be used to suggest at least tentative solutions. Here, simulations are used to investigate four difficult problems. One involves fewer and shorter texts than would be ideal–texts that are also chronologically earlier than the known texts by the target author. The second involves too small a number of well attributed texts by the authors in question, and initial uncertainty about the genres of the texts, the number of authors involved, and their genders. The third is a tricky case of co-authorship with only relatively vague and uncertain evidence about the nature and extent of each author’s contribution; here simulations with sections of well-attributed texts by the two authors are used to test Rolling Classify. The fourth addresses the sparsity of well-attributed and confidently-dated Early Modern plays, using simulations to evaluate Brian Vickers’ rare n-gram approach to the attribution of such plays.

scholarly journals A robust authorship attribution on big period

2019 ◽  
Vol 9 (4) ◽  
pp. 3167 ◽  
Author(s):  
Mubin Shoukat Tamboli ◽  
Rajesh Prasad
Keyword(s):  
Identification Problem ◽  
Authorship Attribution ◽  
Support Vector ◽  
Writing Style ◽  
Author Identification ◽  
Time Period ◽  
N Gram ◽  
Corpus Selection ◽  
Writing Sample ◽  
Small Period

Authorship attribution is a task to identify the writer of unknown text and categorize it to known writer. Writing style of each author is distinct and can be used for the discrimination. There are different parameters responsible for rectifying such changes. When the writing samples collected for an author when it belongs to small period, it can participate efficiently for identification of unknown sample. In this paper author identification problem considered where writing sample is not available on the same time period. Such evidences collected over long period of time. And character n-gram, word n-gram and pos n-gram features used to build the model. As they are contributing towards style of writer in terms of content as well as statistic characteristic of writing style. We applied support vector machine algorithm for classification. Effective results and outcome came out from the experiments. While discriminating among multiple authors, corpus selection and construction were the most tedious task which was implemented effectively. It is observed that accuracy varied on feature type. Word and character n-gram have shown good accuracy than PoS n-gram.

Moscow: The Third Rome

2021 ◽  
Author(s):  
Nick Mayhew
Keyword(s):  
Early Modern ◽  
19Th Century ◽  
Early Modern Period ◽  
16Th Century ◽  
Human Soul ◽  
The Third ◽  
Modern Period ◽  
Imperial Ideology ◽  
The City ◽  
Modern Russian

In the mid-19th century, three 16th-century Russian sources were published that alluded to Moscow as the “third Rome.” When 19th-century Russian historians discovered these texts, many interpreted them as evidence of an ancient imperial ideology of endless expansion, an ideology that would go on to define Russian foreign policy from the 16th century to the modern day. But what did these 16th-century depictions of Moscow as the third Rome actually have in mind? Did their meaning remain stable or did it change over the course of the early modern period? And how significant were they to early modern Russian imperial ideology more broadly? Scholars have pointed out that one cannot assume that depictions of Moscow as the third Rome were necessarily meant to be imperial celebrations per se. After all, the Muscovites considered that the first Rome fell for various heretical beliefs, in particular that Christ did not possess a human soul, and the second Rome, Constantinople, fell to the Turks in 1453 precisely because it had accepted some of these heretical “Latin” doctrines. As such, the image of Moscow as the third Rome might have marked a celebration of the city as a new imperial center, but it could also allude to Moscow’s duty to protect the “true” Orthodox faith after the fall—actual and theological—of Rome and Constantinople. As time progressed, however, the nuances of religious polemic once captured by the trope were lost. During the 17th and early 18th centuries, the image of Moscow as the third Rome took on a more unequivocally imperialist tone. Nonetheless, it would be easy to overstate the significance of allusions to Moscow as the third Rome to early modern Russian imperial ideology more broadly. Not only was the trope rare and by no means the only imperial comparison to be found in Muscovite literature, it was also ignored by secular authorities and banned by clerics.

Introduction

2017 ◽  
Author(s):  
Tomas Macsotay ◽  
Cornelis van der Haven ◽  
Karel Vanhaesebrouck
Keyword(s):  
Early Modern ◽  
Public Space ◽  
Visual Arts ◽  
Interdisciplinary Research ◽  
Research Agenda ◽  
Institutional Context ◽  
Catholic Priest ◽  
The Third ◽  
Modes Of Representation ◽  
Starting Point

Taking the infamous Theatrum Crudelitatum Haereticorum nostri temporis by the Catholic priest Richard Verstegan as its starting point, this chapter introduces the reader to the over-arching agenda of the book, clearly formulating its interdisciplinary research agenda. The Hurt(ful) Body focuses on both literal and metaphorical violence, performed and depicted in early modern performing and visual arts. Indeed, Theatrum Crudelitatum is a very outspoken example of the issues at stake in this book: the violence inflicted on bodies and the representation of this very same violence, in theatres, in pictures and paintings but also in non-artistic modes of representation. In the introduction, the editors describe the threefold structure of the book. The first part will focus mainly on performing bodies (on stage), whereas the second part will discuss the pain of someone who watches the suffering of others, both in regard to theatre audiences and beholders of art, as well as to the onlooker in art: the theatre character or individual on canvas who is watching a(nother) hurt body. The third and final part will analyse how this circulation of gazes and affects functions within a specific institutional context, paying particular interest to the performative context of public space.

Introduction

2013 ◽  
pp. 1-10
Author(s):  
Michael Fishbane ◽  
Joanna Weinberg
Keyword(s):  
Early Modern ◽  
Literary Genre ◽  
Cultural Performance ◽  
The Third ◽  
Cultural Pedagogy ◽  
And Diffusion ◽  
Historical Periods

This chapter summarizes the four fundamental historical periods of development. The first period roughly covers the first to fifth centuries where certain foundational elements of literary genre, translation, displacement, and diffusion are considered. The next period takes up the fifth to eleventh centuries and focuses on the deepening and thickening of the midrashic enterprise as it expands into liturgy, theological polemics, narrative elaborations, and cultural performance. The third period includes the development of intense lexical annotation of midrashic texts and traditions, their acute scholastic examination, assorted uses of midrashic teachings for cultural pedagogy, and creative uses of Midrash to deepen the sense of history and time. The last period considers some of the early modern and modern traditions of Midrash and its transformations.

The Golden Mirror in the Imperial Court of the Qianlong Emperor, 1739-1742

2003 ◽  
Vol 8 (2) ◽  
pp. 111-147 ◽  
Author(s):  
Marta Hanson
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Medical Knowledge ◽  
Modern China ◽  
The Third ◽  
Southern Chinese ◽  
Regional Trends ◽  
Imperial Court ◽  
Chinese Scholars ◽  
Qianlong Emperor

AbstractIn the last month of 1739, the third of the Manchu rulers, the Qianlong emperor (r. 1736-1795), ordered the compilation of a treatise on medicine "to rectify medical knowledge" throughout the empire. By the end of 1742, eighty participants chosen from several offices within the palace bureaucracy based in Beijing completed the Golden Mirror of the Orthodox Lineage of Medicine, the only imperially commissioned medical text the Qing government's Imperial Printing Office published. The Golden Mirror represents both the limitations in the power of the Qianlong emperor and the dominance in the Manchu court of Chinese scholarship from the Jiangnan region during the first decade of his reign. Chinese scholars participating in the compilation of the Golden Mirror fashioned a medical orthodoxy for the empire in the mid-eighteenth century from regional trends in scholarship on history and the classics centered in the Jiangnan region since the sixteenth century. The Golden Mirror is an illuminating example of how medical scholars participated in the formation of evidential scholarship in early-modern China and why Manchu patronage, southern Chinese scholarship, and medical orthodoxy coalesced in the imperial court of the Qianlong emperor.

Introduction

2018 ◽  
Author(s):  
Lisa Shapiro
Keyword(s):  
Nineteenth Century ◽  
Early Modern ◽  
Ancient Greek ◽  
Scientific Psychology ◽  
The Third ◽  
Scientific Approach

This chapter provides an overview of Pleasure: A History. The book traces a narrative in four acts. The first act shows how ancient Greek and medieval philosophers from both the Islamic and Latin traditions were concern with unifying the variety of pleasures. In the second act, early modern European philosophers became focused on pleasure as psychological. The third act shows how in the nineteenth century pleasure become of the object of scientific psychology. The book concludes by showing how contemporary psychology and philosophy are recognizing the shortcomings of the scientific approach and returning to questions from earlier in the story to enrich the approach. The introduction also provides chapter summaries and recognizes key figures who have been omitted.

scholarly journals PUBLICITY, PRIVACY, AND RELIGIOUS TOLERATION IN HOBBES'S LEVIATHAN

2013 ◽  
Vol 10 (2) ◽  
pp. 261-291 ◽  
Author(s):  
ARASH ABIZADEH
Keyword(s):  
Early Modern ◽  
Religious Freedom ◽  
Church And State ◽  
Early Modern Period ◽  
Private Sphere ◽  
Religious Toleration ◽  
The Public ◽  
The Third ◽  
Public Expression ◽  
Modern Period

What motivated an absolutist Erastian who rejected religious freedom, defended uniform public worship, and deemed the public expression of disagreement a catalyst for war to endorse a movement known to history as the champion of toleration, religion's freedom from coercion, and separation of church and state? At least three factors motivated Hobbes's 1651 endorsement of Independency: the Erastianism of Cromwellian Independency, the influence of the politique tradition, and, paradoxically, the contribution of early modern practices of toleration to maintaining the public sphere's religious uniformity. The third factor illustrates how a key function of the emerging private sphere in the early modern period was to protect uniformity, rather than diversity; it also shows that what was novel was not so much the public/private distinction itself, but the separation of two previously conflated dimensions of publicity—visibility and representativeness—that enabled early modern Europeans to envisage modes of worship out in the open, yet still private.

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