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Measured Unrest In The Poetry Of The Black Arts Movement
University of Virginia, United States of America
In this paper I offer a proof-of-concept for performing sentiment analysis on the poetry of the Black Arts Movement of the 1960s and 1970s. Building on recent scholarship (like the work of Lauren Berlant and Sianne Ngai) suggesting that feeling gives structure to cultural formations, my research investigates the provocation and articulation of emotions like frustration, anger, and discontentment within recent US literary history as they relate to systemic injustice. In addressing these issues, this project employs both close reading as well as machine reading techniques on a small corpus of books, combining the powerful scale of sentiment analysis with the granularity of traditional literary analysis in an effort to explore the intersections of feeling, gender, race, and injustice in the radical poetry of the this period.
The Poetry Of The Lancashire Cotton Famine (1861-65): Tracing Poetic Responses To Economic Disaster
Ruth Mather, Gary Stringer
University of Exeter, United Kingdom
This paper explores the challenges and possibilities of digitising a large body of nineteenth-century working-class poetry which is currently being recovered from various physical archives in Lancashire, UK. It seeks to open up discussion of the ways in which digital methods can democratise study in the humanities through outlining the public-facing elements of the project, as well as the potential for transnational communication in a study that explores cultural outputs of a local economic crisis prompted by global events.
Exploring Big and Boutique Data through Laboring-Class Poets Online
Cole Daniel Crawford
Harvard University, United States of America
This paper examines a boutique approach to data creation and curation through the case study of Laboring-Class Poets Online, a biographical and bibliographic database-driven website containing information about over 2,000 British working-class writers publishing in the eighteenth or nineteenth centuries and their texts.
The Diachronic Spanish Sonnet Corpus (DISCO): TEI and Linked Open Data Encoding, Data Distribution and Metrical Findings
Pablo Ruiz Fabo1, Helena Bermúdez Sabel1, Clara Martínez Cantón1, Elena González-Blanco1, Borja Navarro Colorado2
1UNED (Universidad Nacional de Educación a Distancia), Spain; 2Universidad de Alicante, Spain
We present a corpus covering 4094 sonnets in Spanish by 1204 authors, from the 15th to the 19th centuries, extracted from HTML sources. The corpus was encoded in TEI. Author metadata not available in a standardized format in the sources were systematically retrieved or inferred from the sources and added to the corpus, e.g. VIAF IDs. RDFa was used to render TEI semantics in the Linked Open Data paradigm. Scansion was annotated automatically with the ADSO Scansion System. Enjambment was annotated automatically with our enjambment detection tool (ANJA). Stanza types were also annotated. The corpus covers both canonical and non-canonical authors. The range of authors and periods, the use of both TEI and RDFa for interoperability, and the combination of metrical and enjambment annotations goes beyond previously available digital resources for the study of poetry in Spanish. This corpus is a contribution within an area where digital resources are scarce.
Distinctions between Conceptual Domains in the Bilingual Poetry of Pablo Picasso
Enrique Mallen2, Luis Meneses1
1Sam Houston State University, United States of America; 2Electronic Textual Cultures Lab, University of Victoria
Picasso started writing poetry in April, 1935 during a period of personal crisis. His poetry is not only fascinating as a form of communication from someone who is primarily known for his plastic output, it is also puzzling for anyone researching the interconnection between language and writing. His poetry is an attempt to expand the expressive power of language, as he adjoins words in unordered strings, following a technique very similar to cubist collage.
In this paper, we propose to investigate how Picasso explored subtle differences between words within specific concepts in French and Spanish –as he composed his poems in two languages. Why did he choose to use these languages in the way he did? Picasso was known to be very deliberate. Our research will address how the two languages offered Picasso a wide range of semantic domains to choose from when establishing subtle contrasts.