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76 results for “poetry”
Golden Agents - Occasional Poetry (case study)
<p>Scripts and data accompanying the Semantics2022 paper (TBA).</p>
Reading the Poetry of António Ramos Rosa from a Distance: Bird's-Eye View, Kingdoms of Nature, The Four Elements (datasets-bundle-2)
<div> <p>Datasets created by Patrícia Esteves Reina with contributions from Bruno Ministro and Helena Costa Carvalho</p> <p> </p> <p>Corpus: António Ramos Rosa's complete poetry<br>Language: Portuguese (Portugal)</p> <p> </p> <p><strong>Contents</strong></p> <ul> <li>Visão Panorâmica (Bird’s-Eye View)</li> <li>Reinos Animal, Vegetal e Mineral (Kingdoms of Nature)</li> <li>Quatro Elementos (The Four Elements)</li> </ul> <p> </p> <p><strong>Data analysis and extraction using R language in RStudio<br></strong></p> <ul> <li>Timeframe: October 2023 - June 2024</li> <li>Work Package 2</li> <li>datasets-bundle-2</li> </ul> <p>Timestamps of the .csv files attached here: 29-06-2024</p> <p> </p> <p>Exploratory research project (2022.08122.PTDC)<br><strong>To See the Tree and the Forest. Reading the Poetry of António Ramos Rosa from a Distance<br></strong>https://doi.org/10.54499/2022.08122.PTDC<br>Funding: Fundação para a Ciência e a Tecnologia, Portugal<br>PI: Bruno Ministro<br>Host: Institute for Comparative Literature - Faculty of Arts and Humanities of the University of Porto<br><a href="https://arvore.ilcml.com/en/home-en/" rel="nofollow">https://arvore.ilcml.com/en/home-en/</a></p> </div>
Results of survey to potential users of repositories of European Poetry on the informational needs
<p>This excel file presents the results of a survey to potential final users of digital repertoires of the European Poetry in order to understand their information needs. This file also presents results of the analysis to the survey: answers to the specific needs of the results - in black if the domain model responds to the needs; green if a new element to the domain is added due to the result.</p> <p>This survey was done in the context of the definition of a domain model for the european poetry. A domain model (or data model) is a milestone in the process of development of a metadata application profile.</p> <p>Together with this survey, other efforts were taken in place:</p> <p>1) Analysis of the structure of databases that serve digital repertoires of European Poetry</p> <p>2) Analysis of the information needs of graphical user interphaces of the digital repertoires of European Poetry</p> <p>The map https://goo.gl/O0mqhI presents the repertoires used and the phases of the analysis.</p> <p>This work is framed in a Starting Grant research project Poetry Standardization and Linked Open Data: POSTDATA (ERC-2015-STG-679528), funded by European Research Council (ERC).</p>
Poetry and Elegant Prose [IO Bijapur 122]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Bijapur 122 </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 800 here with further notations and hyperlinks]</strong>.</li> </ul> <p>800.</p> <p>B 122. Size 10 in. by 5<sup>3/4</sup> in.; foll. 61. From twenty-eight to thirty lines in a page.</p> <p>شرح المعلقات السبع الخ</p> <p>A concise Commentary on the <em>Mu’alla</em><em>ḳât, </em>ascribed to Abu’l-Ḥasan Muḥammad b. Aḥmad, commonly called IBN KAISÂN the grammarian (d. probably A.H. 320).<sup>1</sup> It is mentioned neither in the <em>Fihrist </em>(ed. Flügel, ۸۲), nor in Ḥ. Kh.</p> <p>This commentary is intended for the use of beginners.</p> <p>It gives rather short explanations of obscure words, and a paraphrase of each verse. The former are introduced by التفسير , and the latter by المعنى . Special grammatical questions are occasionally discussed in an appendix, which the superficial reader is advised to skip.</p> <p>The preface begins: الحمد لله و الصلوة على النبى محمد و آله و صحبه اجمعين قال ابوالحسن محمد بن احمد كَيْسَان النحوى رحه اختصرنا غرائب هذه القصائد السبع المشهورة الخ.</p> <p>The first scholium is introduced by the words: قال التعالبى (!) قال لنا ابوالحسن . Tha’âlibî is accordingly supposed to have handed down the work from the author; he was born, however, thirty years after the death of the latter (A.H. 350).</p> <p>Plainly written. Completed and collated on Thursday, 14th Rabî’ II., 1098, by Zain b. 'Abdallah Muḳaibil.</p> <p> </p> <p><sup>1</sup> Cf. Flügel, die grammatischen Schulen der Araber, 210<em>n</em>.</p> <p> </p>
Poetry and Elegant Prose [IO Bijapur 125]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Bijapur 125 </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 816 here with further notations and hyperlinks]</strong>.</li> </ul> <p><a href="https://archive.org/details/catalogueofarabi01greauoft/page/236/mode/2up?view=theater"><strong>816</strong></a>.</p> <p>B 125. Size 7 in. by 5<sup>1/2</sup> in.; foll. 102. Twelve lines in a page.</p> <p>Amplifications (تخميس) of MUḤAMMAD B. ABU BAKR B. RASHÎD Baghdâdî’s (d. A.H. 662) Ḳâṣîdahs in praise of the Prophet, styled وِتْريّة . See regarding these Ḳaṣîdahs, Ḥ. Kh. vi. 422. Whether one of the two تخميس mentioned there is identical with this MS., cannot be ascertained.</p> <p>There is no introduction. The first تخميس begins:</p> <p>بدات بذكر الله مدحا مقدَّما</p> <p>و اثنى بحمد الله شكرا معظّما</p> <p>و اختم قولى بالصلوة و انّما</p> <p>اصلى صلوة تملا الارض و السما على من له اعلى العلى متبوّءُ</p> <p>Well written, with vowel-points. Red lines round the pages. Many marginal notes. The end is missing.</p> <p> </p> <p> </p> <p> </p> <p> </p>
Poetry and Elegant Prose [IO Bijapur 127]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Bijapur 127 </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 815 here with further notations and hyperlinks]</strong>.</li> </ul> <p><a href="https://archive.org/details/catalogueofarabi01greauoft/page/236/mode/2up?view=theater"><strong>815</strong></a>.</p> <p>B 127. Size 8<sup>1/2</sup> in. by 5 in.; foll. 100. Twenty-one lines in a page.</p> <p>Theosophic poems in erotic form, styled ترجمان الاشواق , by Muḥyi al-dîn Muḥammad b. ‘Alî, commonly called IBN ‘ARABÎ (d. A.H. 638), with a commentary by the same.</p> <p>See, for particulars, Ḥ. Kh. iii. 276; Cat. Lugd. ii. 75; and Aumer, Hdss. Münch. 218.</p> <p>Plainly written. Imperfect at the end.</p> <p>Cat. 232, xxii.</p> <p> </p>
Poetry and Elegant Prose [IO Bijapur 133]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Bijapur 133 </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 814 here with further notations and hyperlinks]</strong>.</li> </ul> <p>814.</p> <p>B 133. Size 8<sup>1/2</sup> in. by 6 in.; foll. 386. Twenty-one lines in a page.</p> <p>A large Commentary on <em>‘Omar Ibn al-Fâri</em><em>ḍ’s</em> (d. A.H. 632) renowned mystic Ḳaṣîdah التائيّة . This commentary is chiefly grammatical. It is ascribed to FARGHÂNÎ (Muḥammad b. Aḥmad, d. about A.H. 700), the earliest interpreter of the <em>Tâ’îyah</em>. Cf. Ḥ. Kh. ii. 86.</p> <p>Plainly written, of the tenth century. Red lines round the pages.</p> <p>This MS. is imperfect both at the beginning and the end, and has other defects besides. The leaves are misplaced in binding ; they should stand in the following order : 1-38 (beginning at verse 2 of the Ḳaṣîdah), 286, 164-285 (here some leaves missing ), 49-55 (here a slight defect), 377-386 (here a larger defect, extending over 19 verses), 56-163, 316-376, 287-296, 39-48, 297-315, ending at verse 758. The rest is wanting. Much injured by insects.</p> <p>The book has been wrongly inscribed as a commentary on a Ḳaṣîdah of Sa’dî (see fol. 1); cf. Catal. 224, xix.</p> <p> </p>
Poetry and Elegant Prose [IO Islamic 37A]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Islamic 37A </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 805 here with further notations and hyperlinks]</strong>.</li> </ul> <p>805.</p> <p>37A. Size 11<sup>1/2</sup> in. by 7<sup>1/2</sup> in.; foll. 46. Six lines in a page.</p> <p>Some extracts from the <em>Ḥamâsah</em>. The first of them are from the beginning of the work.</p> <p>Well written in a large hand, without vowel-points. Tastefully ornamented. Injured by insects.</p> <p>In an elegant gilt binding. Seal and signature of Charles Boddam, Calcutta, 1787.</p> <p> </p>
Poetry and Elegant Prose [IO Bijapur 123]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Bijapur 123 </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 809 here with further notations and hyperlinks]</strong>.</li> </ul> <p><a href="https://archive.org/details/catalogueofarabi01greauoft/page/234/mode/2up?view=theater"><strong>809</strong></a>.</p> <p>B 123. Size 9<sup>3/4</sup> in. by 6<sup>1/2 </sup>in.; foll. 114. Fifteen lines in a page.</p> <p>A fine old copy of the <em>Ma</em><em>ḳâmât</em>, written in a bold hand, with all the vowel-points. Of the sixth or seventh century.</p> <p>Incomplete. Twenty-two leaves are wanting at the beginning. The first words are لكنّ قوس الخطوب , from the eighth <em>Ma</em><em>ḳâmah</em> . <sup>3</sup> One leaf is missing after fol.19, and one after 28; ten leaves are missing after 88, five after 97, ten after 107, and several at the end. Marginal notes of later date.</p> <p>Cat. 226, xxxii.</p> <p> </p> <p><sup>3</sup> p. ۸ . in De Sacy's edition.</p> <p> </p>
Poetry and Elegant Prose [IO Bijapur 89]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Bijapur 89 </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 832 here with further notations and hyperlinks]</strong>.</li> </ul> <p><a href="https://archive.org/details/catalogueofarabi01greauoft/page/240/mode/2up?view=theater"><strong>832</strong></a>.</p> <p>B 89. Size 10 in. by 6 in.; foll. 439. Twenty-one lines in a page.</p> <p>An imperfect copy of the same work, in two parts, the first of which concludes with Chapter 42 (fol. 166).</p> <p>Plainly written. Of the twelfth century. The beginning is wanting, and there is a considerable defect after fol. 6.</p> <p>The first words are : و عنه صلعم ما من مُسلم الخ , from Chapter 1. At the end is the same tetrastich as in the preceding MS., introduced by the words وما احسن ما قيل .</p> <p>Cat. 230 (Vaz), x.</p> <p> </p> <p> </p>
Poetry and Elegant Prose [IO Bijapur 124]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Bijapur 124 </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 827 here with further notations and hyperlinks]</strong>.</li> </ul> <p><a href="https://archive.org/details/catalogueofarabi01greauoft/page/238/mode/2up?view=theater"><strong>827</strong></a>.</p> <p>B 124. Size 8 in. by 5<sup>3/4</sup> in.; foll. 186. Eleven and twelve lines in a page.</p> <p>كتاب ديوان سيّدنا الشيخ الاجل .... وجيه الدين و بركة المسلمين عبدالرحيم بن احمد البرعى المهاجرى</p> <p>A Collection of Ḳaṣîdahs of ‘ABD AL-RAḤÎM B. AḤMAD BUR’Î.</p> <p>Begins: هذه القصائد من جملة ما وجد من شعر الشيخ الخ.</p> <p>This collection contains ----</p> <p>1.(foll. 8-27) poems addressed to God (الالهيّات) the first of which commences:</p> <p>تجلت لوحدانية الحق انوارُ</p> <p>2.(foll. 27-127) poems in praise of Muḥammad (النبويّات) ; <sup>1</sup></p> <p>3.(foll. 127-186) poem on several Ṣûfîs (الصوفيّات) . Well written in a large hand. The collation with the original copy was finished on Saturday, the last of Rajab, 1038.</p> <p>Prefixed are (foll. 1-7) two anonymous poems of a very ingenious design. The first of them begins:</p> <p>لا تياسن فالرجا كم فرجا</p> <p>The other, which is inscribed قصيدة مخلعة , commences:</p> <p>ملك سما ذو اكمال زانه كرم</p> <p>It consists of twenty verses. All of these, as well as single sections of them, which are written in red, may be transposed, and the poem may thereby be varied in 360, or, as is added in a postscript, rather in millions of ways.</p> <p>Cat. 223, xi.</p> <p> </p> <p> </p> <p><sup>1</sup> A poem of this kind is to be found in Cat. Bodl. i. 254, no. MCCXXVI. 2; cf. <em>ibid. </em>ii. 614.</p> <p> </p>
Poetry and Elegant Prose [IO Bijapur 121]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Bijapur 121 </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 825 here with further notations and hyperlinks]</strong>.</li> </ul> <p><a href="https://archive.org/details/catalogueofarabi01greauoft/page/238/mode/2up?view=theater"><strong>825</strong></a>.</p> <p>B 121. Size 10<sup>1/2</sup> in. by 6 in.; foll. 291. Twenty-two lines in a page.</p> <p>Another copy of the preceding Commentary.</p> <p>Plainly written. Dated Monday, 27th Sha’bân, 1080.</p> <p>Cf. Cat. 223, vi., vii.</p> <p> </p> <p> </p>
Poetry and Elegant Prose [IO Bijapur 70]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Bijapur 70 </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 824 here with further notations and hyperlinks]</strong>.</li> </ul> <p><a href="https://archive.org/details/catalogueofarabi01greauoft/page/238/mode/2up?view=theater"><strong>824</strong></a>.</p> <p>B 70. Size 10<sup>1/2 </sup>in. by 7 in.; foll. 241. Twenty-one lines in a page.</p> <p>A copious Commentary on the <em>Hamzîyah</em>, by Shihâb al-dîn AḤMAD B. ḤAJAR HAITHAMÎ Makkî (d. A.H. 973).</p> <p>It is entitled المنح المكّية , and also افضل القرى لقرّاء امّ القرى . It was composed A.H. 966. Cf. Ḥ. Kh. iv. 557.</p> <p>Prefixed to it is a long preface (foll. 1-6), which begins: الحمد لله الذى اختصّ نبيّنا محمد صلعم بكتاب اخرس الفصحاء و اعجز البلغاء.</p> <p>The date of the author runs as follows (fol. 239): وقع الفراغ منه قرب نصف ليلة الجمعة ثانى جمادى الاولى سنة ست و ستين و تسعمائة.</p> <p>Well written. Dated Monday, the last of Jumâda I., 991. Various marginal notes in the earlier portion. On foll. 340 and 341 are added an extract from the تفصيل النشأتين (of RÂGHIB IṢFAHÂNÎ),<sup>2</sup> inscribed فى بيان الشجرة النبوية و فضلها على سائر جوهرة البريّة , and some notes (فائدة) .</p> <p>Slightly injured.</p> <p> </p> <p><sup>2</sup> See Ḥ. Kh. ii. 383.</p> <p> </p>
Poetry and Elegant Prose [IO Bijapur 126]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Bijapur 126 </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 823 here with further notations and hyperlinks]</strong>.</li> </ul> <p><a href="https://archive.org/details/catalogueofarabi01greauoft/page/238/mode/2up?view=theater"><strong>823</strong></a>.</p> <p>B 126. Size 7<sup>1/2 </sup>in. by 4 in.; foll. 31. Fifteen lines in a page.</p> <p>Another Ḳaṣîdah by BÛṢÎRÎ, on the excellency and the miracles of Muḥammad. It is entitled امّ القرى , but it is more commonly called from its rhyme , الهمزية .</p> <p>See Ḥ. Kh. iv. 557. <sup>1</sup> Cf. Cat. Bodl. i. 254, ii. 339.</p> <p>Plainly written, with vowel-points, by one Ṣâdiḳ.</p> <p> </p> <p><sup>1</sup> The statement of Ḥ. Kh. regarding the name ام القرى , is taken from Ibn Ḥajar’s commentary. See the following no.</p> <p> </p>
Poetry and Elegant Prose [IO Bijapur 79]
<ul> <li><strong>Poetry and Elegant Prose.</strong></li> <li><strong>This manuscript is now IO Bijapur 79 </strong><strong>in the India Office collections.</strong></li> <li><strong>[metadata:</strong><a href="https://de.wikipedia.org/wiki/Otto_Loth"> <strong>Otto Loth, </strong></a><strong><em><a href="http://doi.org/10.5281/zenodo.3923636">A Catalogue of the Arabic Manuscripts in the Library of the India Office</a></em>, (volume 1), no. 839 here with further notations and hyperlinks]</strong>.</li> </ul> <p>839.</p> <p>B 79. Size 9<sup>1/2</sup> in. by 5<sup>1/4 </sup>in.; foll. 552. Twenty-one lines in a page.</p> <p>Another copy of the <em>Ḳashkûl</em>, complete in one volume.</p> <p>Well written. The fourth part is dated Tuesday, beginning of Muḥarram, 1085 (see fol. 447).</p> <p>Conclusion: تم المجلد الخامس من نفائس الكشكول .</p> <p>Cf. Cat. 231, v.</p> <p> </p>
GRETIL - Göttingen Register of Electronic Texts in Indian Languages. POETRY
<p>GRETIL - Göttingen Register of Electronic Texts in Indian Languages. POETRY</p>
Ukrainian 14-syllable verse in Belarusian poetry: the rhythm of translations and imitations (dataset)
<p>Data and source code accompanying the talk:<br> У. В. Парыцкі. Украінскі 14-складовы верш у беларускай паэзіі: рытміка перакладаў і імітацый // X Міжнародны Кангрэс даследчыкаў Беларусі, Коўна, 01.10.2022 [Vladislav Poritski. Ukrainian 14-syllable verse in Belarusian poetry: the rhythm of translations and imitations // Presented at 10th International Congress of Belarusian Studies, Kaunas, 01.10.2022]</p> <p>The empirical investigation of 14-syllable verse, presented in the talk, is based upon a sample of Ukrainian texts by Taras Shevchenko, their Belarusian translations, and original Belarusian poetry by Yanka Kupala, Yakub Kolas, Piatruś Brouka. The dataset structure is as follows:</p> <ul> <li>./0_plain – plain texts;</li> <li>./1_accentuated – accentuated texts;</li> <li>metadata_shevchenko.tsv, metadata_be_authors.tsv – metadata files describing the texts;</li> <li>make_reports.py – a Python script to generate statistic reports from the accentuated texts;</li> <li>./2_reports – programmatically generated reports;</li> <li>slides.tex – LaTeX source code of the talk's slides, where the reports are embedded as diagrams and tables;</li> <li>slides.pdf – PDF version of the slides.</li> </ul> <p>The directories ./0_plain, ./1_accentuated, ./2_reports are provided in .zip archives.</p> <p>Belarusian translations of Taras Shevchenko's poetry have been taken from the book:<br> Т. Р. Шаўчэнка. Вершы. Паэмы. Мінск: Мастацкая літаратура, 1989.<br> (scan copy available at https://files.knihi.com/Knihi/scanned/Saucenka.Viersy_paemy.djvu)<br> Each poem is stored in a separate .txt file. The file name indicates the number of the poem's first page in the scanned book, e.g.: 021.txt. Same names are used for the respective Ukrainian texts. In each pair of files, such as e.g. ./0_plain/uk/021.txt and ./0_plain/be/021.txt, the texts are aligned line by line. Poem titles in both languages, translator names, and the URLs of Ukrainian source texts are provided in metadata_shevchenko.tsv.</p> <p>Original Belarusian poetry, kept in ./0_plain/be, doesn't require any alignment, and the naming scheme is different. Poem titles, author names, and the URLs of Belarusian source texts are provided in metadata_be_authors.tsv.</p> <p>In all Ukrainian and Belarusian texts, metrically irrelevant lines are discarded, only 14-syllable verse lines are stored, each of them split graphically into 8+6 syllables. Occasional minor violations, i.e. ± one or two syllables, are allowed in the texts but ignored in the statistic reports. No spans shorter than a pair of rhyming 14-syllable lines (or, graphically, a quatraine of 8+6+8+6 syllables) were sampled from polymetric poems.</p> <p>These special characters are used:</p> <ul> <li>"/" to represent line break in the source edition;</li> <li>"//" for section break (next stanza, another character's words);</li> <li>trailing "#" for the inverse of line break: to recover the original 14-syllable line as printed in the source edition, one should remove the newline;</li> <li>leading "#" for mis-aligned lines, e.g. those missing in the Belarusian translation and added hypothetically, in order to restore the alignment.</li> </ul> <p>The procedure of accentuating Ukrainian and Belarusian texts was semi-automatic, using an opportunistic database of word accents crawled from online lexicographic resources: https://slounik.org for Belarusian, https://uk.wiktionary.org and https://slovnyk.ua/nagolos.php for Ukrainian. The database and the accentuator script are not part of this dataset. Although a fair bit of manual supervision was put into ensuring that most accents are accurate, it's likely that some errors still remain, especially in the Ukrainian data, so please be cautious.</p> <p>Accentuated texts in ./1_accentuated/uk and ./1_accentuated/be are lowercased, with all punctuation stripped off. As usual in quantitative study of East Slavic verse (see e.g. https://doi.org/10.12697/smp.2019.6.2.02 for a recent overview), we distinguish between two kinds of stresses: pronouns and certain other function words bear "light" stress, while content words bear "heavy" stress. These are the designations:</p> <ul> <li>"`" for light stress, to the left of the stressed vowel;</li> <li>"'" for heavy stress, to the right of the stressed vowel (note that after consonants, "'" is an apostrophe);</li> <li>"*" for variant heavy stress, as in Ukrainian <em>ба*йду*же</em>;</li> <li>"_" to group clitics together with stressed words, as in Ukrainian <em>і_не_привіта'ла</em>.</li> </ul> <p>In rare exceptional cases, the meter may require to pronounce syllabic consonants, as in Belarusian <em>рэестр</em>. To match pronunciation, we add a vowel in square brackets: <em>рэест[а]р</em>.</p> <p>The reports summarize certain statistic properties of the dataset:</p> <ul> <li>translators.csv – a breakdown of Shevchenko's Belarusian translations into the numbers of lines contributed by each translator. 8+6 are counted as separate lines. Syllable count violations are ignored: a pair of aligned Ukrainian / Belarusian lines is not counted towards the translator's total, if the number of syllables is irrelevant (e.g. 9 and 9) or mismatched (e.g. 8 and 6).</li> <li>be_authors.csv – line counts by author in the original Belarusian poetry. Same counting rules apply, modulo the alignment.</li> <li>rhythm.csv – percentages of accents on each of the 14 syllables in various samples, grouped by author and / or translator. Rows are syllables, columns are samples. Accents in each sample are counted two ways: "min" – only heavy stresses, "max" – all stresses.</li> <li>total_accentuation.csv – average accent counts per line in Shevchenko's Ukrainian texts and Belarusian translations, separately for 8+6, separately for heavy and all stresses.</li> <li>word_boundary.csv – statistics of word boundary positions in 8-syllable 2-word heavy-stressed lines in Shevchenko's Ukrainian texts and Belarusian translations.</li> <li>trochaicity.csv – ratio of stresses that match trochaic metrical template, separately for 8+6, heavy stresses only. Rows are samples: Shevchenko's Ukrainian texts and Belarusian translations, original poetry by three Belarusian authors.</li> </ul> <p>For implementation details, see the source code of make_reports.py.</p> <p>To reproduce report generation, you will need Python. Unzip the archive 1_accentuated.zip and run:<br> python3 make_reports.py</p> <p>To rebuild the slides, you will need LaTeX:<br> xelatex -synctex=1 -interaction=nonstopmode -shell-escape slides.tex<br> If the bibliographic references are not rendered properly, rerun once again.</p>
Arabic Poetry Analysis Datasets
<p>These datasets are used in the context of metered Arabic poetry analysis. They contain a poetry corpus, poems patterns data, poems visualizations as images and the data used for clustering poetry compositions with related results.</p>
Beyond the barriers of poetry in the digital world. Is standardization possible in order to achieve interoperability?
<p>The video shows the opening of the 2nd EADH day which took place before the official opening of <em>DHd 2016</em> in Leipzig (7 - 12 März 2016).</p> <p>After welcoming words by Elisabeth Burr, one of the local organisers of the conference, a presentation on the EADH days by Øyvind Eide, representative of EADH, and the awarding of the EADH bursary, Elena Gonzalez-Blanco from the UNED in Madrid, who had organised the 1st EADH day in concomitance with <em>HDH 2015</em> in Madrid, gave her keynote.</p> <p>The programme of the 2nd EADH day is available <a href="http://dhd2016.de/?q=EADH%20day%20programme">here</a>.</p>
Corona Haikus - Poetics of compassion. Visual poetry and co-creation in virtual opening spaces as self-care and community-care
<p>The COVID-19 lockdowns and the maxim of social distancing have not only been accompanied by an upheaval of all so far assumed certainties and our complex socio-cultural infrastructures – they have also brought along deep permutation in our personal, intimate lives. As closeness and connectivity are essential in times of cataclysm, and as the preservation and negotiation of the effects of crises and its consequences is one element in deal with stress and anxieties, the impulse to document and reflect one's experiences, to reset one's focus and to regain agency through (co-)creative practices and mutual care have gained momentum. This might be one reason why during the lockdown many virtual communities emerged, e.g. social media initiatives with a documentary impetus, as well as collaborative web-projects. The motives for engaging in such networks are various – and often, one and the same project serves different needs at the same time for different user-participants. Apart from the impulse to document unprecedented times as a coping strategy to face personal uncertainties, and apart from the impetus to share one's experiences with others and thus to create a feeling of connectivity, these projects are also means for mediated self-care: they are spaces to self-reflexively cope with a slow-downed and often also isolated lifestyle and to make social distancing more bearable. This contribution examines the potentials of co-creative documentary poetry/poetic documentary in times of crises, taking the participatory project Corona Haikus as an example – a project, which launched during the first lockdown in March 2020 as an artistic experiment repurposing the facebook platform and which later metamorphosed into a curated website. I will investigate which community needs have existed during the crisis, and how the collaborative project Corona Haikus answered them. The focus of the presentation lies on co-creation as a form of self- and community-care, on the visual haiku as a poetic and therapeutic form and meditative practice of creation, as well as the use of networked media, to create 'open spaces' (sensu Zimmermann & De Michiel 2018), to foster communicative connectivity and to inspire creativity – thus making social media networks social in the proper sense of the word. Conceptualizations of co-creation, participation, mediated mindfulness and the healing potential of creativity – especially visual poetry – will be supplemented by reflections on community building, agency in co-creative projects and media ethics. In this sense, the contribution is meant as an analytic investigation of the status quo but also as a glimpse on the potential quo vadis of collaborative, interactive documentary and its (new) functions a means for self-care and community-care.</p> <p>Corona Haikus curated website: <a href="https://coronahaikus.com">https://coronahaikus.com</a></p> <p>Corona Haikus facebook group: <a href="https://www.facebook.com/groups/226094118756231">https://www.facebook.com/groups/226094118756231</a> </p> <p>Interview / Podcast with Sandra Gaudenzi and Sandra Tabares Duque on Kammerfilmmern & Mediales Rauschen: <a href="https://kammerflimmern.podigee.io/b10-corona-haikus">https://kammerflimmern.podigee.io/b10-corona-haikus</a></p> <p>Published in: <a href="https://trametrami.avinus.org/publikationen/8-2023">https://trametrami.avinus.org/publikationen/8-2023</a> </p>
ScienceDex guides
Understand access before you commit
These curated guides explain access requirements, typical timelines, costs, and reuse considerations for widely used research datasets.
Allen Brain Atlas
Allen Brain Atlas is an Allen Institute collection of brain map atlases, datasets, APIs, and analysis tools covering mouse, human, and non-human primate brain resources.
Annotated Behaviour and Observability Dataset (ABODe)
ABODe is a University of Edinburgh DataShare dataset for behavior classification in group-housed mice using home-cage video, identities, bounding boxes, ground-plate positions, and annotator labels.
DANDI Archive for NWB datasets
DANDI is a BRAIN Initiative archive for publishing and sharing neurophysiology data, including electrophysiology, optophysiology, and behavioral data packaged as NWB and related standards.
International Brain Laboratory public data
The International Brain Laboratory public data releases expose standardized mouse decision-making experiments, including Neuropixels recordings, widefield calcium imaging, behavior, and session metadata accessed through the ONE API.
OpenNeuro
OpenNeuro is a free, open platform for sharing neuroimaging datasets, with public search, dataset pages, and download paths for web, S3, DataLad, and the OpenNeuro CLI.