Know Thy Context: Parsing Contextual Information from User Reviews for Recommendation Purposes

Author(s):  
Konstantin Bauman ◽  
Alexander Tuzhilin

In this paper, we study an important problem of parsing contextual information from user reviews for recommendation purposes. First, we study the ways contextual information is expressed in user reviews and obtain novel insights about it. Among other things, we demonstrate that such type of information tends to appear at the beginning of the review, in longer sentences, in the sentences written in the past tense or using gerund form, and in the sentences referring to some points in time. Second, we propose a novel context parsing method for systematically extracting contextual information from user-generated reviews that rely on the insights obtained in our study. We apply the proposed method to three different Yelp applications (restaurants, hotels, and beauty & spas) and demonstrate that it works well and leads to better recommendation performance than the baseline approaches. Our method systematically extracts more comprehensive sets of relevant contextual variables and corresponding phrases than the baselines. Our analysis also shows the importance of the newly discovered contextual information for recommendation purposes. The obtained results and the proposed method can help to get more comprehensive knowledge about contextual variables in a given application that leads to better recommendations.

2010 ◽  
Vol 1 ◽  
pp. 167-192
Author(s):  
Lea Sawicki

The article deals with the use of simplex and compound (prefixed) verbs in narrative text. Main clauses comprising finite verb forms in the past and in the past habitual tense are examined in an attempt to establish to what extent simplex and compound verbs exhibit aspect oppositions, and whether a correlation exists between the occurrence of simplex vs. compound verbs and distinct textual units. The investigation shows that although simple and compound verbs in Lithuanian are not in direct aspect opposition to each other, in the background text portions most of the verbs are prefixless past tense forms or habitual forms, whereas in the plot-advancing text portions, the vast majority of verbs are compound verbs in the simple past tense.  


Author(s):  
З.И. Годизова ◽  
Д.В. Габисова

Актуальность предпринятого исследования обусловлена тем, что причастие в современном осетинском языке не привлекало активного внимания ученых, имеются лишь общие описания причастий, а специальные исследования, посвященные причастиям, практически отсутствуют. Представляется интересным и актуальным сравнение системы причастий и их грамматических особенностей в осетинском и русском языках. Этот интерес обусловлен принадлежностью сопоставляемых языков к общей индоевропейской семье языков, а также тесным их взаимодействием в условиях двуязычия, что, очевидно, может отразиться и на системе причастий. Научная новизна данной статьи заключается в том, что в ней исследуются грамматические особенности всех разрядов причастий в осетинском языке в сопоставлении с русским языком. На основании проведенного анализа установлено, что в современном осетинском языке система причастий включает пять разрядов, разнообразных в своих грамматических проявлениях, в степени регулярности, в склонности переходить в состав других частей речи. Выявлены наиболее значительные отличия осетинских причастий от русских: существование причастий будущего времени в системе осетинского языка, отсутствие у причастий показателей времени и залога, а также именных грамматических категорий (падежа, числа, рода). Установлено также, что в осетинском языке категория вида в большей степени управляет категорией времени, в силу чего несовершенный вид причастий предполагает только настоящее время, а совершенный только прошедшее отсутствует четкая залоговая оппозиция причастий в осетинском языке. Определено также, что осетинские причастия не имеют членных (полных) форм, но функционируют в роли и сказуемого, и определения, хотя в большей степени тяготеют к предикативной роли. В осетинском языке причастия гораздо менее употребительны сравнительно с причастиями в русском языке и чаще вступают в отношения грамматической омонимии с другими частями речи. The relevance of the undertaken study is determined by the fact that participles in the modern Ossetian language are still insufficiently studied. There are only the most general descriptions of grammar features of participles. The comparison of the system of participles and their grammar features seems interesting and actual, especially considering the fact that the Ossetian and Russian languages belong to different groups of the Indo-European language family. Furthermore, in the context of bilingualism the Russian and Ossetian languages interact actively and that can affect the system of participles. The scientific novelty of the article is determined by the fact that it examines the grammatical features of all categories of participles in the Ossetian language in comparison with the Russian language. The conducted research allowed to elicit five categories in the system of participles in the modern Ossetian language. The analysis of the results showed the participles are diverse in their grammatical characteristics, in the degree of regularity, and in the tendency to transition into other parts of speech. The research defined the most significant differences between Ossetian and Russian participles: existence of future participles in the system of the Ossetian language absence of adjectival grammar categories of gender, number and case as well as formal markers of tense and voice in Ossetian participles. The tense category in Ossetian subordinates to the aspect category to a far greater extent therefore the imperfective aspect of participles accepts the present tense forms only, while perfective acts in the past tense forms Ossetian participles lack explicit voice opposition. Ossetian participles do not have full forms, but they can have syntactic functions of both the predicate and the attribute in a sentence, although the predicative function is more typical for them. Participles in the Ossetian language are much less common compared to participles in Russian and are more disposed to conversion (transition to the category of nouns, verbal adverbs, adjectives, words of the state category).


2021 ◽  
Vol 8 (1) ◽  
pp. 99-116
Author(s):  
Marina Akimova

The author explores various compositional levels of the Russian modernist author Mikhail Kuzmin’s long poem “The Trout Breaks the Ice”. The levels are: (1) the grammatical tenses vs. the astronomical time (non-finite verb forms (imperative) are also assumed to indicate time); (2) the meters of this polymetric poem; (3) realistic vs. symbolic and (4) static vs. dynamic narrative modes. The analysis is done by the chapter, and the data are summarized in five tables. It turned out that certain features regularly co-occur, thus supporting the complex composition of the poem. In particular, the present tense and time regularly mark the realistic and static chapters written in various meters, whereas the past tense and time are specific to the realistic and dynamic chapters written in iambic pentameter. The article sheds new light on the compositional structure of Kuzmin’s poem and the general principles of poetic composition.


2019 ◽  
Vol 5 (6) ◽  
pp. 36-47
Author(s):  
Rashid Chandio ◽  
Shadab Fatima ◽  
Tarique Tarique ◽  
Saira Soomro

A well-prepared abstract enables the reader to identify the basic content of a document quickly and accurately, to determine its relevance to their interests, and thus to decide whether to read the document in its entirety. The Abstract should be informative and completely self-explanatory, provide a clear statement of the problem, the proposed approach, or solution, and point out major findings and conclusions. The Abstract should be 100 to 200 words in length. The abstract should be written in the past tense. Standard nomenclature should be used and abbreviations should be avoided. No literature should be cited. The keyword list provides the opportunity to add keywords, used by the indexing and abstracting services, in addition to those already present in the title. Judicious use of keywords may increase the ease with which interested parties can locate our article.


Author(s):  
Tamara Skrypnyk ◽  

The paper considers the poem 449 written by Emily Dickinson and its translations into Ukrainian and Russian. The translation of the grammatical syntactic syntagma «I died for Beauty…» is also analyzed. The work of V. Sdobnikov and O. Petrova «Theory of Translation» where the scholars propose to apply literary and extra-linguistic aspects of translation theory was especially important for the present research. The principles of literary and linguistic translation theory have been applied in the process of philological and linguistic-stylistic types of analysis. The literary studies theory emphasizes the principle of vocabulary adequacy in the original work and its translations. The extra-linguistic aspect of the linguistic translation theory has impelled us to consider the morphological category of gender of the personal pronoun «I» in singular and the verb «died» in the past tense. In modern (synchronous) English, the morphological category of gender of the personal pronoun in the first person and the verb in the past tense are not denoted by morphemes, whereas in the Ukrainian and Russian languages the verb in the past tense has the suffix «l» and the ending «а» for the feminine gender. That is why some translators have mistakenly interpreted the image of the poem's first persona by creating the image of a lyrical male character, which violated the gender right of the poetess. The translators were to take into account the biographical right of the poetess to write on her own behalf, and the fact that in most works E. Dickinson revealed her inner world in the first person and applied the personal pronoun «I» in her poems very often, which testifies to the femininity of her poetry. Russian translators M. Zenkevich and A. Kudrjavytsky translated the structure «I died for Beauty» by using the words of the lyrical woman-character. They recreated the image of a lyrical heroine who is capable to give her life for Beauty. Another translator V. Markova created the lyrical male character. In her translation both characters are opposed to each other, because the poet is «he» while the Beauty is «she». In Markova’s translation it is the man who died for beauty, love and truth. Ukrainian translators D. Pavlychko and N. Tuchynska also created the lyrical male character and interpreted the image from the first person that changed the original author’s artistic message. It should be noted that the method of character masculinization in the translation of grammatical syntactic syntagma has changed the main idea of the work. This violated the gender right of the poetess to create the image of a noble lyrical heroine who is able to give her life for Beauty. The article also focuses on the peculiarities of the syntax of the poem, the special meaning of dashes in the original text and its translations as well as the method of character onimization. The lexical adequacy of the poem under consideration and its translations into Ukrainian and Russian are analyzed.


2013 ◽  
Vol 1 (1) ◽  
pp. 58-86 ◽  
Author(s):  
Claire Hardaker

This paper investigates the phenomenon known as trolling — the behaviour of being deliberately antagonistic or offensive via computer-mediated communication (CMC), typically for amusement’s sake. Having previously started to answer the question, what is trolling? (Hardaker 2010), this paper seeks to answer the next question, how is trolling carried out? To do this, I use software to extract 3,727 examples of user discussions and accusations of trolling from an eighty-six million word Usenet corpus. Initial findings suggest that trolling is perceived to broadly fall across a cline with covert strategies and overt strategies at each pole. I create a working taxonomy of perceived strategies that occur at different points along this cline, and conclude by refining my trolling definition.


2015 ◽  
Vol 10 (2) ◽  
pp. 295-316 ◽  
Author(s):  
Muireann Irish ◽  
Jody Kamminga ◽  
Donna Rose Addis ◽  
Stephen Crain ◽  
Rosalind Thornton ◽  
...  

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