This paper addresses the treatment of noise caused by word omissions in a corpus of school writings, in order to facilitate their subsequent automatic processing. While a normalization step may facilitate the processing of these texts, certain linguistic expressions remain challenging to comprehend, particularly in instances where the writer omits words from the text. The present contribution proposes three automatic and semi-automatic potential solutions to this problem. The first method employs a "mask" token in the form of xxx. The second (...) is a semi-automatic approach whereby each morpho-syntactic category proposed during normalization is replaced by the corresponding "prototypical word." The third involves a FlauBERT method, using this language model to "reconstruct" the most probable token in the text. The three methods are evaluated quantitatively, and the results obtained using method 3, which proved to be the most effective in the context of our research, are also presented qualitatively. (shrink)

We give a description of the effect of the gravitational field by using the geodesic equation of motion with respect to a first order Finslerian approximation of the Minkowski metric. This motivates linking the physical force of gravity to the non flat nature of space in the Finslerian setting and leads to an anisotropic version of the red shift formula. We solve the linearized Finslerian field equations proposed by S.F. Rutz (Gen. Relativ. Gravit. 25(11):1139–1158, 1993).

Rivers stopped or flowing backward -- Harmony, number, and others --Twentieth-Century measures.

For several decades, Monographien und Texte zur Nietzsche-Forschung has set the agenda in a rapidly growing and changing field of Nietzsche scholarship. The book series is international in orientation and reflects the entire spectrum of research on Nietzsche. The series publishes monographs and edited volumes that undergo a strict peer-review process. The series is led by an international team of editors.

The paper explores the role of the media in influencing public opinion from an inferential-pragmatic perspective. It presents preliminary results of the study focused on representation of Russia in Western newspapers. Drawing on Critical Discourse Analysis (Fairclough 1995,2001; van Dijk 2009) and media linguistics (Fowler 1991, Richardson 2007, among others) the study centres around the linguistic means of construing ambiguity/uncertainty, viewed as a strategy of persuasion. We mostly focus on the semantics of certain groups of words and other textual features (...) such as indefinite pronouns, epistemic modality, passive voice, present perfect tense, interrogative headlines and some other tools used in media texts to construe ambiguity which, in its turn, arguably aims at influencing public opinion. We also look at presupposition, information structure, evaluation and transitivity. Though we have limited our study to the English language sources (The Guardian, The Telegraph, The Independent, The Washington Post, The Wall Street Journal, the Chicago Tribune, news websites of the BBC, Reuters, Express, Politico and Fox News, among others), we are not suggesting that linguistic ambiguity is a feature of Western, rather than Russian, or other languages' media. (shrink)

La théorie nietzschéenne du génie, dans la mesure où elle réhabilite positivement la contrainte et la convention dans la création artistique, permet de dépasser la mystérieuse théorie romantique d'inspiration naturaliste. Sur quoi repose cette théorie esthétique nietzschéenne ? Sur l'assimilation de la langue de l'artiste à une convention efficiente, c'est-à-dire lui permettant de communiquer activement avec un public, et donc d'être compris. La véritable convention est celle qui naît du besoin, et qui, – intégrée dans un travail de soi sur (...) soi commandé par la contrainte, le sérieux et la discipline, – se transforme en une nouvelle habitude, et devient une seconde nature, sous l'effet de la répétition acharnée. Elle s'oppose au laisser-aller, et rend possible la constitution d'une véritable culture dépassant l'opposition de la convention et de la nature. Elle définit selon l'auteur le style de l'esprit libre, soit l'artiste capable « de danser dans les chaînes », c'est-à-dire de jouer avec la convention. La véritable liberté artistique ne consiste donc pas à s'affranchir de la tradition, mais à la maîtriser et à jouer avec elle. La théorie de la création artistique élaborée par Nietzsche fournit ainsi le paradigme d'une libération de l'esprit. (shrink)