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1
Kesson, Andrew. „Early modern authorship“. Thesis, University of Kent, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520914.
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2
Calarota, Gabriele. „On Authorship Attribution“. Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/22809/.
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Authorship attribution is the process of identifying the author of a given text and from
the machine learning perspective, it can be seen as a classification problem. In the
literature, there are a lot of classification methods for which feature extraction techniques
are conducted. In this thesis, we explore information retrieval techniques such as Doc2Vec
and other useful feature selection and extraction techniques for a given text with different
classifiers. The main purpose of this work is to lay the foundations of feature extraction
techniques in authorship attribution. At the end of this work, we show how we compared
our results with related works and how we managed to improve, to the best of our
knowledge, the results on a particular dataset, very known in this field.
3
Klapperich, T. J. „The authorship of Ecclesiastes“. Theological Research Exchange Network (TREN), 2003. http://www.tren.com/search.cfm?p086-0040.
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4
May, Thomas Glen. „The authorship of Hebrews“. Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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5
Honaker, Randale J. „Novel topic authorship attribution“. Thesis, Monterey, California. Naval Postgraduate School, 2011. http://hdl.handle.net/10945/5761.
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Approved for public release; distribution is unlimitedThe practice of using statistical models in predicting authorship (so-called author-attribution models) is long established. Several recent authorship attribution studies have indicated that topic-specific cues impact author-attribution machine learning models. The arrival of new topics should be anticipated rather than ignored in an author attribution evaluation methodology; a model that relies heavily on topic cues will be problematic in deployment settings where novel topics are common. In order to effectively deal with novel topics, we create author and topic vectors and attempt to project out the topic influences from each document. Although our experiments did not validate our assumptions, they do point out a possible problem with a common assumption in authorship attribution research.
6
Simone, Daniela Teresa. „Copyright and collective authorship“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:fba5022d-8647-4deb-91f3-8cd8c536bcfa.
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Many scholars have suggested that current copyright law is ill-equipped to the challenges of determining the authorship of collaborative work. This thesis analyses four case studies of large scale collaboration (Wikipedia, Indigenous art, scientific collaborations and film) in order to consider how best to determine the authorship of the creative works that they produce for the purposes of copyright law. Current scholarship and much of the case law has tended to favour a restrictive approach to the grant of joint authorship status, in order to minimise the number of potential authors of a work. This is motivated by instrumental/pragmatic concerns related to the ease of exploiting a copyright work. As joint authors are often joint first owners of copyright, proponents of this approach fear that a minor contributor might cause hold-up problems by refusing to consent to licence or assign their copyright interest. This thesis argues that an instrumental/pragmatic approach to the application of the joint authorship test is undesirable, because it distances the test both from the creativity reality of collective authorship and from copyright’s notion of the author. In addition, the instrumental/pragmatic approach relies upon assumptions about creators, the creative process and the exploitation of creative works which are not borne out in the case studies. Building on the insights from the four case studies, the thesis argues that the best approach to applying the joint authorship test to works of collective authorship is one that is inclusive (of all those who have made a more than de minimis contribution of creative choices to the protected expression) and contextual (in that it takes the context of creativity into account). In coming to this conclusion the thesis also offers broader lessons about the nature of authorship and the ongoing relevance of copyright law standards for the regulation of collaborative creativity.
7
Lalla, Himal. „E-mail forensic authorship attribution“. Thesis, University of Fort Hare, 2010. http://hdl.handle.net/10353/360.
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E-mails have become the standard for business as well as personal communication. The inherent security risks within e-mail communication present the problem of anonymity. If an author of an e-mail is not known, the digital forensic investigator needs to determine the authorship of the e-mail using a process that has not been standardised in the e-mail forensic field. This research project examines many problems associated with e-mail communication and the digital forensic domain; more specifically e-mail forensic investigations, and the recovery of legally admissible evidence to be presented in a court of law. The Research Methodology utilised a comprehensive literature review in combination with Design Science which results in the development of an artifact through intensive research. The Proposed E-Mail Forensic Methodology is based on the most current digital forensic investigation process and further validation of the process was established via expert reviews. The opinions of the digital forensic experts were an integral portion of the validation process which adds to the credibility of the study. This was performed through the aid of the Delphi technique. This Proposed E-Mail Forensic Methodology adopts a standardised investigation process applied to an e-mail investigation and takes into account the South African perspective by incorporating various checks with the laws and legislation. By following the Proposed E-mail Forensic Methodology, e-mail forensic investigators can produce evidence that is legally admissible in a court of law.
8
Gerritsen, Corey M. (Corey Metcalf) 1979. „Authorship attribution using lexical attraction“. Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/87414.
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Thesis (M.Eng. and S.B.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2003.Includes bibliographical references (p. 56-57).
by Corey M. Gerritsen.
M.Eng.and S.B.
9
Tennyson, Matthew Francis. „Authorship Attribution of Source Code“. NSUWorks, 2013. http://nsuworks.nova.edu/gscis_etd/322.
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Authorship attribution of source code is the task of deciding who wrote a program, given its source code. Applications include software forensics, plagiarism detection, and determining software ownership. A number of methods for the authorship attribution of source code have been presented in the past. A review of those existing methods is presented, while focusing on the two state-of-the-art methods: SCAP and Burrows.
The primary goal was to develop a new method for authorship attribution of source code that is even more effective than the current state-of-the-art methods. Toward that end, a comparative study of the methods was performed in order to determine their relative effectiveness and establish a baseline. A suitable set of test data was also established in a manner intended to support the vision of a universal data set suitable for standard use in authorship attribution experiments. A data set was chosen consisting of 7,231 open-source and textbook programs written in C++ and Java by thirty unique authors.
The baseline study showed both the Burrows and SCAP methods were indeed state-of-the-art. The Burrows method correctly attributed 89% of all documents, while the SCAP method correctly attributed 95%. The Burrows method inherently anonymizes the data by stripping all comments and string literals, while the SCAP method does not. So the methods were also compared using anonymized data. The SCAP method correctly attributed 91% of the anonymized documents, compared to 89% by Burrows.
The Burrows method was improved in two ways: the set of features used to represent programs was updated and the similarity metric was updated. As a result, the improved method successfully attributed nearly 94% of all documents, compared to 89% attributed in the baseline.
The SCAP method was also improved in two ways: the technique used to anonymize documents was changed and the amount of information retained in the source code author profiles was determined differently. As a result, the improved method successfully attributed 97% of anonymized documents and 98% of non-anonymized documents, compared to 91% and 95% that were attributed in the baseline, respectively.
The two improved methods were used to create an ensemble method based on the Bayes optimal classifier. The ensemble method successfully attributed nearly 99% of all documents in the data set.
10
Jones, Kailin J. (Kailin Jenifer). „After aura : authorship, automation, authenticity“. Thesis, Massachusetts Institute of Technology, 2021. https://hdl.handle.net/1721.1/132752.
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Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, February, 2021Cataloged from the official pdf of thesis. Page 124 blank
Includes bibliographical references (page 123).
Walter Benjamin wrote in his seminal 1935 essay, "that which withers in the age of mechanical reproduction is the aura of the work of art"--an essay that narrowly defines art and the craft of art up until that moment as something that is rooted in site specificity, ritual, uniqueness and non-reproducibility. This conception of art and artistic production fails to acknowledge the networks of transmission, transfer, and transformation that have always existed in parallel with the migration of objects, people and tools circulating the world throughout history. Almost a century after Benjamin's essay on mechanical reproduction, we have entered the digital, the post-digital, the automated, while at times have been nostalgic for the mechanical and the hand-made. That being said, the anxiety surrounding the Aura has in many ways not faded. We still bid wildly at auctions, flock into galleries in pursuit of the new or go on pilgrimages to architectural sites and museums to see and experience the original "in person." We also employ armies of scholars or dealers to find or authenticate the "original". In After Art, David Joselit asks for an expansion of the definition of art to "embrace heterogeneous configurations of relationships or links," freeing art from belonging to any particular time, space or medium, but rather as Pierre Huyghe says, "a dynamic chain that passes through different formats." This thesis attempts to document and utilize these dynamic chains through acts of copying using contemporary tools and conditions such as outsourcing and open sourcing. In experiments in outsourcing, I decided to digitally reproduce ornate, luxurious, objects valued for their rarity in order to make them more easily reproducible. In experiments in tools for copying, I designed a machine by utilizing an open source, anonymous, catalog of parts to imitate expired mechanical copying devices.
by Kailin J. Jones.
M. Arch.
M.Arch. Massachusetts Institute of Technology, Department of Architecture
11
Young, Deborah E. „The Machinic Assemblage: Dismantling Authorship“. Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1336020877.
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12
Engleman, Eric Earle. „Reevaluating the authorship of Ecclesiastes“. Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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13
Mathes, Jordan Lewis. „Performing Paul Auster’s Authorship : Authorship and Authority as Cultural Performance in the New York Trilogy“. Thesis, Högskolan Dalarna, Engelska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30480.
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14
Brower, Matthew Francis. „Signature style, art, authenticity and authorship“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0021/MQ48566.pdf.
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15
Carter, Brandon E. „The authorship of the Pastoral Epistles“. Lynchburg, Va. : Liberty University, 2007. http://digitalcommons.liberty.edu.
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16
Grant, T. D. „Authorship attribution in a forensic context“. Thesis, University of Birmingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529439.
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This thesis develops a quantitative method for forensic authorship attribution. The principal constraint, that the method be scientific according to the Daubert criteria, necessitates that the conclusions drawn about authorship problems must be made to a known degree of certainty. In response, the theoretical part of the thesis establishes the criteria for a sound method in authorship attribution as relying on valid, reliable markers of authorship and the development of an explicit and specific sampling strategy. The main empirical part of the thesis draws potential markers of authorship from the literature and tests them against a specially constructed General Authorship Corpus. The resulting battery of reliable markers of authorship includes word and sentence length statistics and word-frequency measures. A series of worked examples with decreasing number of texts demonstrates the method and tests its limits, showing positive attributions where possible and no false attributions even when comparison data is limited. In addition to the development and application of the battery of valid, reliable markers of authorship, the role of stylistic idiosyncrasies in attribution is discussed and developed as a secondary strategy. Possibilities for the statistical presentation of results are considered and a Bayesian approach is proffered as the most desirable
17
Cain, Lynn Fiona. „The fouled nest : Dickens, family, authorship“. Thesis, University of Newcastle Upon Tyne, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313549.
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18
Toor, Kiran. „Coleridge's chrysopoetics : alchemy, authorship, and imagination“. Thesis, Queen Mary, University of London, 2007. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1616.
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This thesis is an attempt to assess the creative potential of alchemy as a master trope in Coleridge's conception of authorship and imagination. It begins with a challenge to the idea that an autonomous author is at the centre of a literary work. This idea is crucial to the reception of literature and to the way in which concepts of "originality" and "authorship" are typically understood. Against this marking out of an author as a singular, autonomous, and uniquely privileged "self', I posit that, for Coleridge, authorship occurs in a transformative or alchemical interspace between the desire for self-expression and the necessarily other-determined nature of creativity. Offering an alternative trajectory for the author, Coleridge elaborates an imaginative strategy in which the dislocation of the selffrom itself is the truest path to self-expression, and the author must become other in order to become morefully himself. Demonstrating a unique link between plagiarism and creativity, this thesis suggests that alchemy, better than any other system, accounts for Coleridge's propensity for plagiarism and for an aesthetic of artifice. In an attempt to trace Coleridge's familiarity with Hermetic and alchemical discourses throughout his life, it has been necessary to review works as varied as those of Plato, Marsilio Ficino, Ralph Cudworth, Jacob Boehme, Herman Boerhaave, and F. W. J. Schelling. I then suggest how Coleridge appropriates alchemical terminology to his own aesthetic and imaginative ends. Unable to resolve the desire for aesthetic autonomy with the impossibility of asserting the self in one's own voice, the thesis posits that Coleridge "plays" in the hermeneutic interspace between selfhood and otherness, creativity and counterfeit, authority and artifice, in order to arrive at an entirely unique strategy of alchemical self-exposition. Arriving at authorial selfhood through the odyssey of alterity, Coleridge's "play"giarisms, in this view, do not violate the principles of originality, but redefine them. The thesis ends with a consideration of the necessarily negotiated fiction of all acts of imagination and authorship.
19
Schonken, Philip Antoni. „Authorship and ownership of UShaka KaSenzangakhona“. Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80307.
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Thesis (MMus)--Stellenbosch University, 2013.ENGLISH ABSTRACT: UShaka KaSenzangakhona is a work of about sixty minutes for choir, soloists and orchestra, composed by Mzilikazi Khumalo, orchestrated in 1994 by Christopher James and revised in 1996 by Robert Maxym. The composition is a setting of a Zulu text by Themba Msimang. The racial and cultural differences between UShaka’s three authors bring binaries into play that define certain aspects of the composition. UShaka’s main developmental trajectory (1982-1996) places it within a volatile political space and time in South Africa‟s recent history. Somewhere, hanging in an unstable balance between these diverse factors, exists a musical work that is struggling to find a voice. This thesis highlights these factors by critically evaluating two aspects of UShaka’s existence, namely its authorship and ownership under Khumalo, James and Maxym. This is achieved through thorough quantitative score analyses of the original composition and its two orchestrations. Results of the analyses are used to draw conclusions about the contributions of each of its three authors to the final musical product. By implication of the findings produced by the analyses, broader themes within South African musicology are touched on and highlighted in new and meaningful ways.
AFRIKAANSE OPSOMMING: UShaka KaSenzangakhona is `n komposisie van sowat sestig minute geskryf deur Mzilikazi Khumalo vir koor, soliste en orkes. Die werk is in 1994 georkestreer deur Christopher James en in 1996 hersien deur Robert Maxym. Die skrywer van die werk se teks is Themba Msimang. Die rasse- en kultuurverskille wat Ushaka se outeurs kenmerk bring binêre binne spel wat sekere eienskappe van die werk se bestaan definieer. Die komposisie se hoof ontwikkelingstrajek (1982-1996) plaas dit binne 'n ongestadige politieke ruimte in Suid-Afrika se onlangse geskiedenis. Ushaka sukkel om binne hierdie diverse faktore 'n stem van sy eie te ontdek. Die tesis vestig aandag op hierdie faktore deur 'n kritiese verkenning te onderneem van twee aspekte van Ushaka se bestaan, naamlik outeurskap en eienaarskap. Dit word behartig met deeglike kwantitatiewe analise van die bladmusiek van die oorspronklike komposisie asook beide orkestrasies. Resultate wat verkry word vanuit die analise word gebruik om gevolgtrekkings te maak gaande die bydraes van elke outeur tot die uiteindelike komposisie. By implikasie kan die bevindinge gebruik word om op nuwe en betekenisvolle wyses aan breër onderwerpe te raak binne die Suid-Afrikaanse veld musikologie.
20
Pires, David Laranjo. „Authorship attribution using co-occurrence networks“. Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/30831.
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Atribuição de Autoria utlizando Redes de
Co-Ocorrencia
Nesta tese é abordada a tarefa de Atribuição de Autoria como uma tarefa de classificação. As metodologias
utilizadas representam textos em grafos. Destes, várias medidas são extraídas, sendo utilizadas como
amostras para o classificador. Já existem alguns trabalhos que também se focam nesta metodologia. Esta
tese foca-se num método que divide o texto em várias partes e trata cada uma como um grafo. Deste, são
extraídas as medidas, que são tratadas como uma série temporal, da qual são extraídos momentos. Assim,
os momentos compõem o vetor final, representativo de todo o texto. A partir da metodologia aqui descrita
surgem mais duas variações. A primeira variação omite o passo das séries temporais, e, por consequência,
as várias medidas de cada grafo são utilizadas diretamente como amostras. A segunda variação representa
todo o texto como um só grafo. As metodologias são testadas com corpus em Inglês e Português, com
número variado de textos; Abstract:
Authorship Attribution using Co-Occurrence
Networks
This thesis approaches the task of Authorship Attribution as a classification task. This is done using
methodologies that represent text documents in graphs, from which several measures are extracted, to be
used as samples for the classifier. There have been some works that also focus on this methodology. This
thesis focuses on a methodology which splits the texts in multiple parts and treats each as a separate graph,
from which measures are extracted. Each graph’s measures are treated as a time-series and moments are
extracted. These moments make the final vector, representative of the entire text. This methodology is
explored and extended with 2 variations. The first variation skips the time-series step, resulting in the
various measures from each graph being used directly as samples. The second variation models the entire
text as one graph. The methodologies are tested in corpus in both English and Portuguese, with varying
number of texts.
21
Gopalakrishnan, Sridharan. „Authorship Attribution based on Grammar Signatures“. University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1368026620.
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Min, Kyung-Jin. „The Levitical authorship of Ezra-Nehemiah“. Thesis, Durham University, 2002. http://etheses.dur.ac.uk/4230/.
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The study of Ezra-Nehemiah has been revolutionised in recent years by a growing rejection of the long-established belief that it was composed as part of the Chronicler's work. That shift in scholarly paradigms has re-opened many questions of origin and purpose, and this thesis attempts to establish an answer to the most important of these: the question of authorship. The first part deals with preliminary questions, reviewing the relationship with Chronicles and the unity of the work, and investigating current theories of origin. It affirms that Ezra-Nehemiah should be considered a single, independent composition, to be dated to the late fifth century B.C., and establishes that the author most probably belonged to one of the clerical groups of priests or Levites. The second part examines the attitude toward Levites in Ezra-Nehemiah, and compares it to the treatment of Levites in other, more or less contemporary literature. This comparison shows that the work is unlikely to have been a priestly composition, since priestly texts of the period show a consistent determination to portray the Levites as clerus minor, subordinate to the priests. On the other hand, the portrayal in Ezra-Nehemiah is quite compatible with that of the Levitical stratum in Chronicles. The third part explores the ideology of Ezra-Nehemiah in the context of Persian rule. It establishes that the author was pro-Persian, despite good reasons for Jewish discontent with Achaemenid policies, and shows that this would not have been inappropriate for a Levitical author by the time the work was written. It also explores the socio-political ideology of the book, concluding that its concerns with decentralisation, cooperation and reform are unlikely to have been voiced by a priestly writer. The dissertation concludes, therefore, that the most probable origin for Ezia-Nehemiah lies in Levitical circles, and that it was composed at a time when Levites had established an improvement in their status and authority, following Persian disenchantment with the priesthood. The implications of this conclusion, literary and historical, are explored briefly in the final chapter.
23
Nini, Andrea. „Authorship profiling in a forensic context“. Thesis, Aston University, 2015. http://publications.aston.ac.uk/25337/.
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There are several unresolved problems in forensic authorship profiling, including a lack of research focusing on the types of texts that are typically analysed in forensic linguistics (e.g. threatening letters, ransom demands) and a general disregard for the effect of register variation when testing linguistic variables for use in profiling. The aim of this dissertation is therefore to make a first step towards filling these gaps by testing whether established patterns of sociolinguistic variation appear in malicious forensic texts that are controlled for register. This dissertation begins with a literature review that highlights a series of correlations between language use and various social factors, including gender, age, level of education and social class. This dissertation then presents the primary data set used in this study, which consists of a corpus of 287 fabricated malicious texts from 3 different registers produced by 96 authors stratified across the 4 social factors listed above. Since this data set is fabricated, its validity was also tested through a comparison with another corpus consisting of 104 naturally occurring malicious texts, which showed that no important differences exist between the language of the fabricated malicious texts and the authentic malicious texts. The dissertation then reports the findings of the analysis of the corpus of fabricated malicious texts, which shows that the major patterns of sociolinguistic variation identified in previous research are valid for forensic malicious texts and that controlling register variation greatly improves the performance of profiling. In addition, it is shown that through regression analysis it is possible to use these patterns of linguistic variation to profile the demographic background of authors across the four social factors with an average accuracy of 70%. Overall, the present study therefore makes a first step towards developing a principled model of forensic authorship profiling.
24
Caver, Johnnie F. „Novel topic impact on authorship attribution“. Thesis, Monterey, California : Naval Postgraduate School, 2009. http://edocs.nps.edu/npspubs/scholarly/theses/2009/Dec/09Dec%5FCaver.pdf.
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Thesis (M.S. in Computer Science)--Naval Postgraduate School, December 2009.Thesis Advisor(s): Schein, Andrew I. ; Martell, Craig H. "December 2009." Description based on title screen as viewed on February 01, 2010. Author(s) subject terms: Authorship detection, topic detection, author-topic correlation, topic-author correlation, maximum entropy, New York Times Annotated Corpus. Includes bibliographical references (p. 61-63). Also available in print.
25
Keeson, Andrew. „John Lyly and early modern authorship“. Thesis, University of Kent, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520886.
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DeBrava, Valerie Ann. „Authorship and individualism in American literature“. W&M ScholarWorks, 2000. https://scholarworks.wm.edu/etd/1539623972.
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A look at the genre of American literary history, as well as at the careers of four nineteenth-century writers, this neo-Marxist study treats the lives and works of Walt Whitman, Emily Dickinson, and Elizabeth and Richard Stoddard through the productive circumstances of their writing, and through our expectations as consumers of their personalities and texts. Typically, Whitman and Dickinson are recognized as creative individualists who defied the literary and social conventions of their time, while the Stoddards---when they are recognized at all---are remembered in less daring terms. Many critics today regard Elizabeth Stoddard's first novel, The Morgesons, as an unsentimental exploration of sexuality and an innovative foray into realism. Even so, these critics tend to see the radical potential of the novel as compromised by its flawed form, often considered an unsophisticated melding of domestic and realist fiction, and by the failure of Stoddard's subsequent works to build on The Morgesons' critique of middle-class womanhood. Richard Henry Stoddard, meanwhile, is seen as an unremarkable adherent to the genteel tradition, a chapter in American literary history now regarded as stagnantly establishmentarian and conformist. By contrast, Whitman and Dickinson stand forth as the artistic embodiments of personal freedom and innovation.;Close examination of the careers of Whitman and Dickinson (posthumous, in the case of Dickinson) reveals, however, that these celebrated individualists were not as removed from social determinations of identity as their personas suggest, and that their differences from the Stoddards were less a matter of temperament than of personality's articulation through commercialism and publicity. The Stoddards inhabited a literary world where the pre-commercial ideal of refined, amateur anonymity tempered the promotional impulse to peddle authors along with texts. The result for the Stoddards---and their genteel peers---was an authorial identity more conforming than conspicuous, and more explicitly social than subversive. Whitman and the posthumous Dickinson of the 1890s, on the other hand, were commodified in conjunction with the promotion of their texts---by Whitman himself and, in the case of Dickinson, by Mabel Loomis Todd and Thomas Wentworth Higginson. as part of the larger capitalist transformation of subjectivity (what Marxist critics term reification), this promotion of Whitman and Dickinson exemplified the influence of late nineteenth-century literary commercialism on the writing self. The careers of Whitman and Dickinson, in other words, were inextricable from the economic and historical circumstances from which authorship emerged as a profession distinct from the avocation of letters, and from which the author, as a static, marketable persona, emerged as a figure distinct from the writer. The autonomy and originality for which Whitman and Dickinson are acclaimed become, in this light, testaments to ideology. For such independence is a feature of their marketed identities that derives from the objectifying, isolating power of commercialism, rather than from genuine individuality and freedom. Such canonical independence derives, in fact, from what Marx calls the commodity fetish, a perceptual paradigm that isolates and objectifies people, as well as things, in a capitalist system.
27
Lane, Keith H. „Kierkegaard and the concept of religious authorship“. Tübingen Mohr Siebeck, 2010. http://d-nb.info/997693851/04.
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Gíslason, Kári. „Narratives of possession : reading for saga authorship /“. [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17579.pdf.
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Freebury-Jones, Darren. „Kyd and Shakespeare : authorship, influence, and collaboration“. Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/91745/.
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The aim of this thesis is to establish the canon of Thomas Kyd’s plays and to explore Shakespeare’s relationship with that oeuvre. Chapter One begins by examining Shakespeare’s verbal indebtedness to plays that have been attributed to Kyd for over two centuries, including The Spanish Tragedy (1587), Soliman and Perseda (1588), and The True Chronicle History of King Leir (1589). The first chapter argues that Shakespeare’s extensive knowledge of Kyd’s plays contributed towards the development of his dramatic language. The second chapter provides an overview of some of the complex methods for identifying authors utilized throughout the thesis. Chapter Three then seeks to establish a fuller account of Kyd’s dramatic canon through a variety of authorship tests, arguing that in addition to the three plays above Arden of Faversham (1590), Fair Em (1590), and Cornelia (1594) should be attributed to Kyd as sole authored texts. The fourth chapter examines the internal evidence for Kyd’s hand in Shakespeare’s Henry VI Part One (1592). The chapter contends that Shakespeare’s chronicle history play was originally written by Kyd and Thomas Nashe for the Lord Strange’s Men, and that Shakespeare subsequently added three scenes for the Lord Chamberlain’s Men. The fifth chapter argues that Shakespeare and Kyd collaborated on The Reign of King Edward III (1593) and that Kyd should thus be recognized as one of Shakespeare’s earliest co-authors. Finally, Chapter Six, by way of conclusion, outlines other possible links between Kyd’s plays and Shakespeare. The thesis as a whole argues for a reconsideration of Kyd’s authorship of a number of key plays that influenced Shakespeare, and for a reconsideration of the collaboration between these two dramatists.
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Zhao, Ying, und ying zhao@rmit edu au. „Effective Authorship Attribution in Large Document Collections“. RMIT University. Computer Science and Information Technology, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080730.162501.
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Techniques that can effectively identify authors of texts are of great importance in scenarios such as detecting plagiarism, and identifying a source of information. A range of attribution approaches has been proposed in recent years, but none of these are particularly satisfactory; some of them are ad hoc and most have defects in terms of scalability, effectiveness, and computational cost. Good test collections are critical for evaluation of authorship attribution (AA) techniques. However, there are no standard benchmarks available in this area; it is almost always the case that researchers have their own test collections. Furthermore, collections that have been explored in AA are usually small, and thus whether the existing approaches are reliable or scalable is unclear. We develop several AA collections that are substantially larger than those in literature; machine learning methods are used to establish the value of using such corpora in AA. The results, also used as baseline results in this thesis, show that the developed text collections can be used as standard benchmarks, and are able to clearly distinguish between different approaches. One of the major contributions is that we propose use of the Kullback-Leibler divergence, a measure of how different two distributions are, to identify authors based on elements of writing style. The results show that our approach is at least as effective as, if not always better than, the best existing attribution methods-that is, support vector machines-for two-class AA, and is superior for multi-class AA. Moreover our proposed method has much lower computational cost and is cheaper to train. Style markers are the key elements of style analysis. We explore several approaches to tokenising documents to extract style markers, examining which marker type works the best. We also propose three systems that boost the AA performance by combining evidence from various marker types, motivated from the observation that there is no one type of marker that can satisfy all AA scenarios. To address the scalability of AA, we propose the novel task of authorship search (AS), inspired by document search and intended for large document collections. Our results show that AS is reasonably effective to find documents by a particular author, even within a collection consisting of half a million documents. Beyond search, we also propose the AS-based method to identify authorship. Our method is substantially more scalable than any method published in prior AA research, in terms of the collection size and the number of candidate authors; the discrimination is scaled up to several hundred authors.
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Harrison, H. „Gender, language and authorship in Boccaccio's Decameron“. Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603776.
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Women and their position in society are placed at the forefront of Giovanni Boccaccio’s Decameron, from the dedication of the work to women in love. While some scholars have focused on the narrators of the brigata, and others have studied individual novelle, the aim of this thesis is to present a global view of the issues and concerns debated by the author regarding female use of language. The thesis consists of five chapters; ‘Gender, Language and Authorship’ positions my work in relation to the wider field of Boccaccio studies. It addresses the difficult issue of the narrative’s first speaker being a woman who speaks in church. ‘Language and Ethics’ examines transgressive feminine speech in the Decameron, particularly when this encroaches on areas of exclusively male learning. ‘When Women’s Words Fail’ revolves around the varying amounts of praise or censure afforded to the Decameron’s women speakers, and the factors which determine the success of an individual’s discourse. ‘Silence and Virtue in the Decameron’ examines the role of silence, investigating the extent to which silence is presented as a rhetorical strategy in itself, and its effectiveness as such. ‘Gendered Narration in the brigata’ addresses the relationship which the members of the brigata have to language, particularly the way in which the presentation of speakers in tales is dependent on both the gender of the brigata narrator, and on the gender of the character they describe. The conclusion asserts that the author appears to have a highly ambivalent view of rhetoric, resulting from a concern not with gender, but from an awareness of the power inherent in words. With this caveat, the presentation of female speakers in the Decameron does appear to advocate reduced restrictions on women’s speech.
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Elias, T. P. „Music and authorship in England, 1575-1632“. Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598807.
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This thesis participates in the study of the 'birth of the author', the positioning of the category of authorship as a historical and social construct. In particular, it examines how ideas of authorship are developed in the production and presentation of printed music books. Music is not just a different, but a distinct way of approaching this issue. Composers were professionals, for whom financial considerations and the importance of enhancing their reputations outweighed gentlemanly concerns with the 'stigma of print'. The difficulties of setting and proof-reading music also encouraged printers to involve composers in the production of their own printed texts. Musicians had both the desire and the opportunity to create fixed, authorised texts in print. The first chapter of this thesis discuses the traditions of the compilation and transmission of music in manuscript, and the way in which 'authorised texts' were those edited by scribes, rather than those created by composers. The second chapter traces the emergence of the authorising individual out of traditions of public music and imitative practices. It also examines the extent to which imitators and anthologisers of Italian music, such as Thomas Morley, developed a concept of the 'work' as an entity which could survive translation and musical imitation. Chapter three discusses the development of the printed music book as a coherent collection, distinct from miscellaneous gathering of individual items. With particular reference to the Psalmes, Sonets and songs of William Byrd (1588), it follows the development of the form and presentation of printed music books out of traditions of the printed miscellanies of lyric verse. Chapter four moves away from the printed musical text to examine issues of patronage and the figurative ownership of the work. Musical texts also require performances; the text itself is incomplete. Composers thus begin to attempt to control performances to establish a definition of their 'work' as an entity beyond the printed page.
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Johnson, Russell Clark. „Authorship Attribution with Function Word N-Grams“. NSUWorks, 2013. http://nsuworks.nova.edu/gscis_etd/188.
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Prior research has considered the sequential order of function words, after the contextual words of the text have been removed, as a stylistic indicator of authorship. This research describes an effort to enhance authorship attribution accuracy based on this same information source with alternate classifiers, alternate n-gram construction methods, and a genetically tuned configuration.
The approach is original in that it is the first time that probabilistic versions of Burrows's Delta have been used. Instead of using z-scores as an input for a classifier, the z-scores were converted to probabilistic equivalents (since z-scores cannot be subtracted, added, or divided without the possibility of distorting their probabilistic meaning); this adaptation enhanced accuracy. Multiple versions of Burrows's Delta were evaluated; this includes a hybrid of the Probabilistic Burrows's Delta and the version proposed by Smith & Aldridge (2011); in this case accuracy was enhanced when individual frequent words were evaluated as indicators of style. Other novel aspects include alternate n-gram construction methods; a reconciliation process that allows texts of various lengths from different authors to be compared; and a GA selection process that determines which function (or frequent) words (see Smith & Rickards, 2008; see also Shaker, Corne, & Everson, 2007) may be used in the construction of function word n-grams.
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Baxter, Jeannette. „Spectacular authorship : historicising J.G. Ballard's surrealist imagination“. Thesis, University of East Anglia, 2005. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426864.
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Ponchione, Cayenna R. „Tracking authorship and creativity in orchestral performance“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:038d450e-f009-4ab0-879f-71d8f77bd77b.
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This thesis takes as its starting point the observation that the authorship of the creative product of orchestral performances has been, and continues to be, over-attributed to the conductor. This is reflected both in popular perceptions and in the scholarly attention given to the conductor's leadership role, as well as in orchestral practices which privilege the conductor's artistically superior position within the orchestra through rehearsal and performance rituals and in remuneration and marketing. Although existing research has challenged the perception that the authority of the conductor is absolute, none has offered alternative explanations for how best to attribute the authorship of orchestral performances. Through a three-phased mixed-methods empirical study including an online questionnaire, in-depth interviews, and a newly developed method of data collection utilising an online variation of video-stimulated recall to capture musician experiences in real-life rehearsal and performance settings, this research contributes to an understanding of the social psychology of orchestral performance by identifying what prompts musicians' decision-making regarding how and when to play their parts. The analysis of the data has resulted in the development of a theoretical Framework of Influence and Action in Orchestral Performance that offers a new way of conceptualising authorship in performance through a 'theory of influence'. It concludes with an exploration of the implications of this revised view of authorship for existing orchestral practices, group creativity research, and our understanding of how the relationships enacted in the micro-socialities of orchestral performance reflect larger social formations.
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Teixeira, Filipe. „Boosting compression-based classifiers for authorship attribution“. Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/18375.
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Mestrado em Engenharia de Computadores e TelemáticaAtribuição de autoria é o ato de atribuir um autor a documento anónimo. Apesar de esta tarefa ser tradicionalmente feita por especialistas, muitos novos métodos foram apresentados desde o aparecimento de computadores, em meados do século XX, alguns deles recorrendo a compressores para encontrar padrões recorrentes nos dados. Neste trabalho vamos apresentar os resultados que podem ser alcançados ao utilizar mais do que um compressor, utilizando um meta-algoritmo conhecido como Boosting.
Authorship attribution is the task of assigning an author to an anonymous document. Although the task was traditionally performed by expert linguists, many new techniques have been suggested since the appearance of computers, in the middle of the XX century, some of them using compressors to find repeating patterns in the data. This work will present the results that can be achieved by a collaboration of more than one compressor using a meta-algorithm known as Boosting.
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Smith, Jennifer. „Theorizing Digital Narrative: Beginnings, Endings, and Authorship“. VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/316.
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Since its development, critics of electronic literature have touted all that is “new” about the field, commenting on how these works make revolutionary use of non-linear structure, hyperlinks, and user interaction. Scholars of digital narrative have most often focused their critiques within the paradigms of either the text-centric structuralist model of narrativity or post-structuralist models that implicate the text as fundamentally fluid and dependent upon its reader for meaning. But neither of these approaches can account completely for the unique modes in which digital narratives prompt readerly progression, yet still exist as independent creative artifacts marked by purposive design. I argue that, in both practice and theory, we must approach digital-born narratives as belonging to a third, hybrid paradigm. In contrast to standard critical approaches, I interrogate the presumed “newness” of digital narratives to reveal many aspects of these works that hearken to print predecessors and thus confirm classical narratological theories of structure and authorship. Simultaneously, though, I demonstrate that narrative theory must be revised and expanded to account for some of the innovative techniques inherent to digital-born narrative. Across media formats, theories of narrative beginnings, endings, and authorship contribute to understanding of readerly progress and comprehension. My analysis of Leishman’s electronically animated work Deviant: The Possession of Christian Shaw shows how digital narratives extend theories of narrative beginnings, confirming theoretical suitability of existing rules of notice, expectations for mouseover actions, and the role of institutional and authorial antetexts. My close study of Jackson’s hypertext my body: a Wunderkammer likewise informs scholarship on narrative endings, as my body does not provide a neatly linear plot, and thus does not cleanly correspond to theories of endings that revolve around conceptions of instabilities or tensions. Yet I argue that there is still compelling reason to read for narrative closure, and thus narrative coherence, within this and other digital works. Finally, my inquiry into Pullinger and Joseph’s collaboratively written Flight Paths: A Networked Novel firmly justifies the theory of implied authorship in both print and digital environments and confirms the suitability of this construct to a range of texts.
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Raffan, Mary. „Joyce, philosophy and the drama of authorship“. Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10650.
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This thesis will examine the representation, consequence and transformation of the idea of authorship in the work of James Joyce and suggest a way of re-addressing the contentious question of authorship. While postmodern criticism has emphasised the “revolutionary” cultural and political ramifications of Joyce’s response and the ways that his work has helped to deconstruct this question for modernity and postmodernity, this thesis will trace the ideas and ideologies, individuals and characters, historical, cultural and biographical circumstances that contributed to both the prominence and the hermeneutical consequence of the question of authorship in Joyce’s work. Highlighting Joyce’s awareness of and fascination with the multivalency of a question shaped by theological, historical, political, philosophical, philological, epistemological, methodological and hermeneutical ideas as well as literary representations, it will examine Joyce’s reformulation and response to this question through four pervasive models of authorship in his work: critic, philosopher, bard and theologian. While each chapter will make a distinction between these models in order to analyse their characteristics and significance, as a way of tracing not only the evolution of these models but also the complex network of interrelation that is established between these distinctive but also intertwining ideas of authorship, the thesis will be structured historically, biographically and “ergographically” (in Barthes’ definition of an ‘ergography’) as well as thematically. As a way of approaching the ideologically overdetermined concept of authorship, but also avoiding another postmodern “renaming” of this concept, these models will be proffered in order to examine the construction, fabrication and invention as well as the deconstruction of the idea of authorship and the representation of the role of the author in fiction, culture, society and history in the work of Joyce. The “drama” of authorship will be interpreted in terms of Joyce’s fictional and hermeneutic dramatisation of the role and idea of the author, but also in terms of the consequence of Joyce’s interest in and early idealisation of the genre of drama. This thesis will finally suggest that Joyce’s “failure” to become a dramatist and engagement with philosophical analyses of this genre contributed significantly to his deconstruction, reconstruction and dramatisation of the role and “exagmination” of the author. The thesis as a whole will delineate how each of these four models gradually becomes more distinctive but simultaneously also inextricable from a variegated template that is only methodologically divided into four parts; the four exegetes in Finnegans Wake inconspicuously multiply. The first three chapters will follow the attempt outlined in Joyce’s early draft of the Portrait ‘to liberate from the personalised lumps of matter that which is their individuating rhythm, the first or formal relation of their parts’- the growing self-consciousness of the artist’s understanding of his role(s) as an artist and of the idea(s) of authorship. In the last two chapters that will look at Ulysses and Finnegans Wake these four models will be more clearly differentiated although the growing theatricality in their portrayal and widening nexus of relations will complicate and indeed undermine the idea of a “model”.
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Mostyn, Alys Elizabeth. „Romantic bibliomania : authorship, identity, and the book“. Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/7158/.
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This thesis explores Romantic authors’ representations of books and bookishness. It argues that bibliocentric writing from the early nineteenth century addressed anxieties associated with the profession of authorship in a rapidly changing landscape of publication, print culture, and technology. However, the contested and heterogeneous nature of Romantic cultural production meant that the book was inevitably an unstable object through which to construct authorial identity. Examining the work of Thomas Frognall Dibdin, Leigh Hunt, Samuel Taylor Coleridge, Charles Lamb, Thomas De Quincey, Walter Scott and James Hogg, I chart the representation of bibliophilia across a range of genres, literary coteries, and social backgrounds. These writers, though in some respects disparate, can all be termed ‘bookish authors’: scholarly (or antiquarian), male, and, above all, concerned with the cultural significance of the book-as-object. Their writing is preoccupied with the ways in which books are owned by readers, writers, and publishers, and how their own declarations of textual ownership – signatures, inscriptions, designations, attributions – function both publically and privately. Their work reveals the extent to which books were key determinants in the expression and realisation of the Romantic period self.
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Gislason, Kari. „Narratives of possession : reading for saga authorship“. Thesis, University of Queensland, 2003. http://espace.library.uq.edu.au/eserv/UQ:106371/THE17579.pdf.
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The aim of this thesis is to show how character analysis can be used to approach conceptions of saga authorship in medieval Iceland. The idea of possession is a metaphor that is adopted early in the thesis, and is used to describe Icelandic sagas as works in which traditional material is subtly interpreted by medieval authors. For example, we can say that if authors claim greater possession of the sagas, they interpret, and not merely record, the sagas' historical information. On the other hand, tradition holds onto its possession of the narrative whenever it is not possible for an author to develop his own creative and historical interests. The metaphor of possession also underpins the character analysis in the thesis, which is based on the idea that saga authors used characters as a vehicle by which to possess saga narratives and so develop their own historical interests. The idea of possession signals the kinds of problems of authorship study which are addressed here, in particular, the question of the authors' sense of saga writing as an act either of preservation or of creation. While, in that sense, the thesis represents an additional voice in a long-standing debate about the saga writers' relation to their source materials, I argue against a clear-cut distinction between creative and non-creative authors, and focus instead on the wide variation in authorial control over saga materials. This variation suggests that saga authorship is a multi-functional activity, or one which co-exists with tradition. Further, by emphasising characterisation as a method, I am adding to the weight of scholarship that seeks to understand the sagas in terms of their literary effects.
The Introduction and chapter one lay out the theoretical scope of this thesis. My aim in these first two sections is to inform the reader of the type of critical questions that arise when authorship is approached in relation to characterisation, and to suggest an interpretive framework with which to approach these questions. In the Introduction this aim manifests as a brief discussion of the application of the term "authorship" to the medieval Icelandic corpus, a definition of the scope of this study, and an introduction to the connections, made throughout this thesis, between saga authors, the sagas' narrative style, and the style of characterisation in the sagas. Chapter one is a far more detailed discussion of our ability to make these connections. In particular, the chapter develops the definition of the analytical term "secondary authorship" that I introduce in order to delineate the type of characterisation that is of most interest in this thesis.
"Secondary authorship" is a literary term that aims to sharpen our approach to saga authors' relationship to their characters by focusing on characters who make representations about the events of the saga. The term refers to any instance in which characters behave in a manner that resembles the creativity, interpretation, and understanding associated with authorship more generally. Character analysis cannot, however, be divorced from socio-historical approaches to the saga corpus. Most importantly, the sagas themselves are socio-historical representations that claim some degree of truth value. This claim that the sagas make by implication about their historicity is the starting point of a discussion of authorship in medieval Iceland. Therefore, at the beginning of chapter one I discuss some of the approaches to the social context of saga writing. This discussion serves as an introduction to both the culture of saga writing in medieval Iceland and to the nature of the sagas' historical perspective, and reflects my sense that literary interpretations of the sagas cannot be isolated from the historical discourses that frame them. The chapter also discusses possession, which, as I note above, is used alongside the concept of secondary authorship to describe the saga authors' relationship with the stories and characters of the past. At the close of chapter one, I offer a preliminary list the various functions of saga authorship, and give some examples of secondary authorship. From this point I am able to tie my argument about secondary authorship to specific examples from the sagas.
Chapter two examines the effect of family obligations and domestic points of view in the depiction of characters' choices and conception of themselves. The examples that are given in that chapter - from Gisla saga Súrssonar and Íslendinga saga - are the first of a number of textual analyses that demonstrate the application of the concepts of secondary authorship and possession of saga narratives. The relationship between narratives about national and domestic matters shows how authorial creativity in the area of kinship obligation provides the basis for the saga's development of historical themes. Thus, the two major case studies given in chapter two tie authorial engagement with characters to the most influential social institution in early and medieval Iceland, the family.
The remaining chapters represent similar attempts to relate authorial possession of saga characters to central socio-historical themes in the sagas, such as the settlement process in early Iceland and its influence on the development of regional political life (chapter three). Likewise, the strong authorial interest in an Icelander's journey to Norway in Heimskringla is presented as evidence of the author's use of a saga character to express an Icelandic interpretation of Norwegian history and to promote a sense that Iceland shared the ownership of regal history with Norway (chapter four). In that authorial engagement with the Icelander abroad, we witness saga characterisation being used as a basis for historical interpretation and the means by which foreign traditions and influence, not least the narratives of royal lives and of the Christianisation, are claimed as part of medieval Icelanders' self-conception.
While saga authors observe the conventions of saga narration, characters are often subtly positioned as the authors' interpretive mirrors, especially clear than when they act as secondary authors. Nowhere is this more apparent than in Brennu- Njáls saga, which contains many characters who voice the author's claim to interpret the past. Even Hrútr Herjólfsson, through his remarkable perception of events and his conspicuous comments about them, acts as a secondary author by enabling the author to emphasise the importance of the disposition of characters. In Laxdœla saga and Þorgils saga ok Hafliða, authorial interest in characters' perception is matched by the thematising of learning, from the inception of knowledge as prophecy or advice to complete understanding by saga characters (chapter six). In Þorgils saga skarða, a character's inner development from an excessively ambitious and politically ruthless youth to a Christian leader killed by his kinsman allows the author to shape a political life into a lesson about leadership and the community's ability to moderate and contain the behaviour of extraordinary individuals. The portrayal draws on methods of characterisation that we can identify in Grettis saga Ásmundarson, Fóstbrœðra saga, and Orkneyinga saga. A comparison of the characterisation of figures with intense political or military ambitions suggests that saga authors were interested in the community's ability to balance their strength and ability with a degree of social moderation.
The discussion of these sagas shows that character study can be used to analyse how the saga authors added their own voice to the voices passed down to medieval Icelanders in traditional narratives. Authorial engagement with characters allowed inherited traditions about early Norway and Iceland and records of thirteenth century events to be transformed into sophisticated historical works with highly creative elements. Through secondary authorship, saga authors took joint-possession of narratives and contested the power of tradition in setting the interpretive framework of a saga.
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Marasca, Serena <1995>. „Gaiman, Shakespeare and the Question of Authorship“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17434.
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This dissertation aims to analyse the question of authorship through one of the most popular works of Neil Gaiman, the fantasy graphic novel The Sandman. As Gaiman stated, the graphic novel mainly focuses on the act of storytelling and the relationship that springs between the reader and the author through the work itself. Throughout the graphic novel, numerous characters are portrayed, but this issue will mainly focus on Dream of the Endless, the protagonist, and on Shakespeare, which Gaiman adopts and adapts as a character. The first chapter serves as a theoretical introduction to the writers and includes Gaiman’s personal and professional biography, a history of Shakespearean adaptations for a Young Adult audience and an introduction to the graphic novel as a means of communication. The following chapter examines the universe of The Sandman, with an overview of the Endless, a brief summary of the main plot and the analysis of two relevant issues of the graphic novel in which Shakespeare appears: issue 19, A Midsummer Night’s Dream and issue 75, The Tempest. The last chapter will focus on Gaiman’s postmodern approach to storytelling across The Sandman and particularly on his way of deconstructing “grand narratives” to open new perspectives for his readership. A final analysis of Shakespeare’s character provides a way to highlight Gaiman’s position as a storyteller: Dream and Shakespeare both represent literary copies of the author and, through their journey, express his belief that stories outlive their creators and inevitably shape the lives of those who read them.
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Maier, Gunther, und Jouke van Dijk. „Co-authorship in Regional Science. A Network Approach“. Institut für Regional- und Umweltwirtschaft, WU Vienna University of Economics and Business, 2006. http://epub.wu.ac.at/514/1/document.pdf.
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Graham, Neil. „Automatic detection of authorship changes within single documents“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0017/MQ49736.pdf.
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Dunning, Stephen Mark. „Charles Williams : a Kierkegaardian reading of his authorship“. Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.256751.
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Slater, Graeme Paul. „Authorship and authority in Hume's History of England“. Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314546.
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May, William. „The mechanics of authorship : Stevie Smith in context“. Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440432.
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Boutwell, Sarah R. „Authorship attribution of short messages using multimodal features“. Thesis, Monterey, California. Naval Postgraduate School, 2011. http://hdl.handle.net/10945/5813.
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Approved for public release; distribution is unlimitedIn this thesis, we develop a multimodal classifier for authorship attribution of short messages. Standard natural language processing authorship attribution techniques are applied to a Twitter text corpus. Using character n-gram features and a NaiÌ ve Bayes classifier, we build statistical models of the set of authors. The social network of the selected Twitter users is analyzed using the screen names referenced in their messages. The timestamps of the messages are used to generate a pattern-of-life model. We analyze the physical layer of a network by measuring modulation characteristics of GSM cell phones. A statistical model of each cell phone is created using a NaiÌ ve Bayes classifier. Each phone is assigned to a Twitter user, and the probability outputs of the individual classifiers are combined to show that the combination of natural-language and network-feature classifiers identifies a user to phone binding better than when the individual classifiers are used independently.
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So, Augustine, und 蘇曉衡. „Auteur in 3 minutes: authorship in music video“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B4684885X.
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Thirkell, Lawrence Alexander. „An artificial neural network approach to authorship determination“. Thesis, Heriot-Watt University, 1993. http://hdl.handle.net/10399/1418.
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ANDRADE, DANIELA ROLIM DE. „TRANSLATION,TRANSFORMATION AND AUTHORSHIP: COPYRIGHTS AND TRANSLATION STUDIES“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=20651@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A presente dissertação busca analisar um conceito jurídico: o de que a tradução de uma obra literária, artística e científica envolve um ato de transformação do texto original, consistindo, assim, numa (re)escrita autoral. Apresenta, brevemente, a influência do Iluminismo e do Romantismo na consolidação do direito de autor, no século XIX, quando o conceito de obra original (ou originalidade) tornou-se central nas leis que passaram a regular essa matéria. Em diálogo com Lawrence Venuti, um importante teórico da tradução, este trabalho procura verificar se a centralidade da obra original nas legislações autorais de fato contribuiu para obscurecer as traduções e, consequentemente, causar a invisibilidade do tradutor. A presente dissertação também busca encontrar fundamentos para a ideia de tradução como transformação a partir do entrecruzamento da Filosofia com os Estudos Linguísticos, explorando o assunto ainda de maneira bastante introdutória. Nesta parte do trabalho sugere-se que o aparecimento de um nova concepção de língua(gem), no final do século XVIII, foi fundamental para se passar a conceber a tradução como um ato de transformação, podendo, inclusive, ter influenciado as próprias leis da época.
The present dissertation analyses a legal concept: that literary, artistic and scientific translations involve an act of transformation and, for that reason, consist in an authorial (re)writing. It briefly shows the influence of the Enlightenment and Romanticism on the consolidation of the authorial rights on the nineteenth century, when the concept of original work (or originality) became central in the copyright laws. In dialogue with Lawrence Venuti, an important translation theorist, it also examines whether the centrality of the original work in the copyright legislation really contributed to obscure translation and consequently cause the translator’s invisibility. The present dissertation also tries to find basis for the idea of translation as transformation through the interaction of philosophy and linguistic studies, still exploring this subject in a very introductory manner. In this part of the work, it is also suggested that the formulation of a new concept of language, at the end of 18th century, might have been very relevant to the idea of translation as transformation, influencing the laws of that time.