scholarly journals Celebrity profiling through linguistic analysis of digital social networks

2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Luis G. Moreno-Sandoval ◽  
Alexandra Pomares-Quimbaya ◽  
Jorge A. Alvarado-Valencia
Keyword(s):  
Social Networks ◽  
Complementary Information ◽  
The Third ◽  
Average Accuracy ◽  
Third Person ◽  
Selection For ◽  
And Gender ◽  
The Third Person ◽  
Source Of Information

AbstractDigital social networks have become an essential source of information because celebrities use them to share their opinions, ideas, thoughts, and feelings. This makes digital social networks one of the preferred means for celebrities to promote themselves and attract new followers. This paper proposes a model of feature selection for the classification of celebrities profiles based on their use of a digital social network Twitter. The model includes the analysis of lexical, syntactic, symbolic, participation, and complementary information features of the posts of celebrities to estimate, based on these, their demographic and influence characteristics. The classification with these new features has an F1-score of 0.65 in Fame, 0.88 in Gender, 0.37 in Birth year, and 0.57 in Occupation. With these new features, the average accuracy improve up to 0.14 more. As a result, extracted features from linguistic cues improved the performance of predictive models of Fame and Gender and facilitate explanations of the model results. Particularly, the use of the third person singular was highly predictive in the model of Fame.

Marginality in the Mainstream, Lesbian Love in the Third Person

2016 ◽  
Author(s):  
Emily Van Buskirk
Keyword(s):  
French Literature ◽  
Gender And Sexuality ◽  
The Other ◽  
The Third ◽  
The World ◽  
Third Person ◽  
Philosophical Texts ◽  
And Gender ◽  
The One ◽  
The Third Person

This chapter undertakes a treatment of the rhetoric of personal pronouns in Ginzburg's writings on love and sexuality, drawing on Michael Lucey's study of the first person in twentieth-century French literature about love. It brings together questions of genre and narrative, on the one hand, and gender and sexuality, on the other. The chapter is divided into two sections, treating writings from two different periods on two kinds of love Ginzburg thought typical of intellectuals: in “First Love,” it discusses the unrequited and tragic love depicted in Ginzburg's teenage diaries (1920–23); in “Second Love,” it analyzes the love that is realized but in the end equally tragic, depicted in drafts related to Home and the World (1930s). The chapter examines the models the author sought in literary, psychological, and philosophical texts (Weininger, Kraft-Ebbing, Blok, Shklovsky, Oleinikov, Hemingway, and Proust).

‘A Kind of Shadow’: Mirror Images and Alter Egos in Zadie Smith’s Swing Time

2018 ◽  
Vol 66 (4) ◽  
pp. 461-477
Author(s):  
Franziska Quabeck
Keyword(s):  
The Novel ◽  
Politics Of Recognition ◽  
The Third ◽  
Narrative Perspective ◽  
Swing Time ◽  
Third Person ◽  
Zadie Smith ◽  
And Gender ◽  
First Time ◽  
The Third Person

AbstractInSwing Time, her newest novel to date, Zadie Smith makes use of a first-person narrator for the first time in her career as a writer, and this change in narrative perspective is crucial to our understanding of the novel. Her narrator is slightly odd and we come to question the veracity of her account. Thus, she is ‘unreliable’ in traditional terms, but this article argues that we can equally call her inauthentic because she obviously represses feelings that are vital to the story. She does not fully expose herself, for she tries to hide the fact that she does not know who she is. Trapped between the intersectionality of race, class, and gender, oppressed by an overbearing mother and a racist society, the narrator has confined herself to an existence as a shadow. By way of Charles Taylor’s politics of recognition and Frantz Fanon’s image in the third person, this article tries to show thatSwing Time’s narrator exists only as a shadow because she finds no external affirmation of herself as a black woman.

Writing good Southerne: Local and supralocal norms in the Plumpton letter collection

2002 ◽  
Vol 14 (1) ◽  
pp. 1-17 ◽  
Author(s):  
Colette Moore
Keyword(s):  
Early Modern Period ◽  
Local Form ◽  
Person Plural ◽  
The Third ◽  
Language History ◽  
The North ◽  
Third Person ◽  
History Of ◽  
And Gender ◽  
The Third Person

The relatively recent application of sociolinguistic methodology to the study of language history offers techniques for approaching regional and social variation and change in earlier stages of English. This article focuses on changes in written norms in the history of English, examining several morphosyntactic variables that were in flux in England in the 15th and 16th centuries: the third person present singular verb endings, the third person plural be, and the Northern Present-Tense Rule for third person plural verbs. These variables are significant because each of them presents two competing forms in the north of England in the Early Modern period: a local form and a supralocal form. The present analysis, after examining the correlation between the linguistic variables and gender and social function, concludes that the results may be understood through a conflict model in which variants supralocalize to accommodate the demands of alternative linguistic markets.

Emotions and gender in oral history: narrating Italy's 1968

Modern Italy ◽  
2012 ◽  
Vol 17 (2) ◽  
pp. 209-221 ◽  
Author(s):  
Rebecca Clifford
Keyword(s):  
Life History ◽  
Oral History ◽  
New Left ◽  
History And Memory ◽  
The Third ◽  
Third Person ◽  
Collective Experience ◽  
And Gender ◽  
History Narratives ◽  
The Third Person

The year 1968 was and remains an emotion-laden topic in Italy, and yet few historians have used emotions to parse the history and memory of this period. This paper draws on a collection of interviews with former activists in the student movement and the New Left to explore the ways in which expressions of feeling in life-history narratives can flag up possible lines of difference in women's and men's stories. It draws on three emotive themes – rebellion, violence and liberation – to explore the interaction between gender, feeling, narrative, and what the author calls the ‘third person in the room’: meta-narratives of 1960s activism that can exert a powerful weight on the interview, blending and blurring the lines of individual and collective experience.

scholarly journals THE NUMBER OF PARTICIPANTS AS A COMMUNICATIVE SITUATION FACTOR: A TYPOLOGY OF SITUATIONS WITH THREE PARTICIPANTS

2019 ◽  
Vol 10 (1) ◽  
pp. 108-120
Author(s):  
Zifa K Temirgazina
Keyword(s):  
Verbal Communication ◽  
The Third ◽  
Two Factors ◽  
Third Person ◽  
Speech Interaction ◽  
Role Based ◽  
Characteristic Features ◽  
The Third Person ◽  
Traditional Understanding

The topicality of the study of communicative situations with three participants is conditioned by, firstly, the fact that pragma-linguistic characteristics of such form of speech interaction as trilogue should serve as a basis for the program development of chat-robots - virtual interlocutors; secondly, a traditional understanding of a communicative situation without reference to the number of the participants does not fully allow to identify the peculiarities of a person’s speech behavior in small-size speech groups. A communicative situation with three participants possesses a variety of pragmatic characteristic features conditioned by a limited number of verbal communication participants; regularities of turn-taking - the speaker and the listener - among the three participants; the configuration of the participants and the specificity of their relationship; the role-based status of the third person and other circumstances that influence the intentional and semantic aspects of utterances. For the classification of communicative situations two factors are important, particularly, the configuration of the participants and the specificity of their relationship; these features are the ones that determine the other pragmatic characteristics of a communicative situation. Based on these factors three major types of a communicative situation are distinguished: in the first type each of the three communicants are participants of verbal communication taking turns in a conversation, where necessary, with various illocutionary intentions; in the second type one of the communicants is the speaker and two others are addressees; in the third type the first two communicants are primary (the speaker and the addressee) while the third participant is secondary, optional. “The third person” can acquire a definite status in the communicative situation depending on the degree - from minimal to high - of his/her involvement in communication.

Effects of Light-Hearted and Serious Entertainment on Enjoyment of the First and Third Person

2016 ◽  
Vol 28 (1) ◽  
pp. 42-48 ◽  
Author(s):  
Matthias Hofer
Keyword(s):  
Young People ◽  
Media Consumption ◽  
First Person ◽  
Online Experiment ◽  
Entertainment Media ◽  
Third Person Effect ◽  
The Third ◽  
Third Person ◽  
Perceived Enjoyment ◽  
The Third Person

Abstract. This was a study on the perceived enjoyment of different movie genres. In an online experiment, 176 students were randomly divided into two groups (n = 88) and asked to estimate how much they, their closest friends, and young people in general enjoyed either serious or light-hearted movies. These self–other differences in perceived enjoyment of serious or light-hearted movies were also assessed as a function of differing individual motivations underlying entertainment media consumption. The results showed a clear third-person effect for light-hearted movies and a first-person effect for serious movies. The third-person effect for light-hearted movies was moderated by level of hedonic motivation, as participants with high hedonic motivations did not perceive their own and others’ enjoyment of light-hearted films differently. However, eudaimonic motivations did not moderate first-person perceptions in the case of serious films.

Causal determinism and a totally global fatalism from the third-person perspective

2020 ◽  
Author(s):  
Xiaoyang Yu
Keyword(s):  
Human Brain ◽  
Human Language ◽  
Causal Determinism ◽  
The Third ◽  
Person Perspective ◽  
Neural Substrate ◽  
Third Person ◽  
Third Person Perspective ◽  
Physical Laws ◽  
The Third Person

The human brain and the human language are precisely constructed together by evolution/genes, so that in the objective world, a human brain can tell a story to another brain in human language which describes an imagined multiplayer game; in this story, one player of the game represents the human brain itself. It’s possible that the human kind doesn’t really have a subjective world (doesn’t really have conscious experience). An individual has no control even over her choices. Her choices are controlled by the neural substrate. The neural substrate is controlled by the physical laws. So, her choices are controlled by the physical laws. So, she is powerless to do anything other than what she actually does. This is the view of fatalism. Specifically, this is the view of a totally global fatalism, where people have no control even over their choices, from the third-person perspective. And I just argued for fatalism by appeal to causal determinism. Psychologically, a third-person perspective and a new, dedicated personality state are required to bear the totally global fatalism, to avoid severe cognitive dissonance with our default first-person perspective and our original personality state.

scholarly journals Deictic Shifting in Greek Contractual Writing (I–IV AD)

Philologus ◽  
2020 ◽  
Vol 164 (1) ◽  
pp. 83-106
Author(s):  
Klaas Bentein
Keyword(s):  
Literary Texts ◽  
Ancient Greek ◽  
Narrative Technique ◽  
The Third ◽  
Third Person ◽  
The Third Person

AbstractMuch attention has been paid to ‘deictic shifts’ in Ancient Greek literary texts. In this article I show that similar phenomena can be found in documentary texts. Contracts in particular display unexpected shifts from the first to the third person or vice versa. Rather than constituting a narrative technique, I argue that such shifts should be related to the existence of two major types of stylization, called the ‘objective’ and the ‘subjective’ style. In objectively styled contracts, subjective intrusions may occur as a result of the scribe temporarily assuming himself to be the deictic center, whereas in subjectively styled contracts objective intrusions may occur as a result of the contracting parties dictating to the scribe, and the scribe not modifying the personal references. There are also a couple of texts which display more extensive deictic alter­nations, which suggests that generic confusion between the two major types of stylization may have played a role.

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