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Books on the topic 'Authorship attribution'

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Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

Juola, Patrick. Authorship attribution. Boston: Now, 2008.

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2

Iqbal, Farkhund, Mourad Debbabi, and Benjamin C. M. Fung. Machine Learning for Authorship Attribution and Cyber Forensics. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-61675-5.

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3

Uesaka, Ayaka, Gen Tsuchiyama, and Masakatsu Murakami. Keiryō bunkengaku no shatei: The computational authorship attribution. Tōkyō: Bensei Shuppan, 2016.

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4

Michelangelo's drawings: The science of attribution. New Haven: Yale University Press, 1991.

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5

Allegro, Roberto. L'ultimo Vivaldi: Note storiche per una riscoperta vivaldiana : Sonate RV 809 e RV 820. Monza: Casa musicale Eco, 2016.

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6

Roos, Gerd, and Paolo Baldacci. Giorgio De Chirico: Interno metafisico (Nature morte) : luglio-agosto 1933, già Collezione Emilio e Maria Jesi, Milano. Milano: Scalpendi, 2011.

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7

Antonio, Fanna, Talbot Michael, and Istituto italiano Antonio Vivaldi, eds. Vivaldi, vero e falso: Problemi di attribuzione. Firenze: L.S. Olschki, 1992.

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8

Company i Climent, Ximo, 1953- author, Vos, Cornelis de, 1584 or 1585-1651, Snyders Frans 1579-1657, and Iveagh Bequest, Kenwood (London, England), eds. Cornelis de Vos: Pareja de granjeros camino del mercado : Una versión desconocida de la obra de Frans Snyders y Cornelis de Vos en Kenwood House-The Iveagh Bequest. Lleida: Universitat de Lleida, 2014.

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9

Varzi, Salvatore. Sfidando l'ignoto: Antonello e l'enigma di Cefalù. Palermo: Torri del vento edizioni, 2017.

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10

Foster, Donald W. Elegy by W.S.: A study in attribution. Newark: University of Delaware Press, 1989.

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11

Ravenna (Italy). Museo d'arte della città, ed. Gli enigmi di un dipinto: Da Nicolò Rondinelli a Baldassarre Carrari. Ravenna: Mar, 2008.

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12

Per amor di Margherita: Due fiamminghi nell'Ancona del Seicento : il mercante Baldasserre Vandergoes e il pittore Luigi Primo da Bruxelles. Ancona, Italia: Il lavoro editoriale, 2014.

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13

The Old plantation: The artist revealed. Williamsburg, Va: Colonial Williamsburg Foundation, 2010.

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14

Wyrick, Jed. The ascension of authorship: Attribution and canon formation in Jewish, Hellenistic, and Christian traditions. Cambridge, Mass: Harvard University, Dept. of Comparative Literature, 2004.

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15

Wyrick, Jed. The ascension of authorship: Attribution and canon formation in Jewish, Hellenistic, and Christian traditions. Cambridge, Mass: Harvard University Press, 2005.

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16

The ascension of authorship: Attribution and canon formation in Jewish, Hellenistic, and Christian traditions. Cambridge, Mass: Harvard University Press, 2004.

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17

Imanol, Amayra, ed. La atribución de la autoría de las figuraciones paleolíticas: Avances metodológicos desde la prehistoria y la psicología cognitiva. Bilbao: Universidad de Deusto, 2014.

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18

F.V.: Un pittore del Cinquecento e il suo monogramma. Rovereto (Trento): Osiride, 2008.

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19

Vincent van Gogh: Il fienile protestante. Alezio, Italy]: Gruppo Enotria edizioni, 2011.

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20

Hebrews as pseudepigraphon: The history and significance of the Pauline attribution of Hebrews. Tübingen, Germany: Mohr Siebeck, 2009.

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21

En quête de Nicolas Poussin, ou, Les tribulations d'un amateur d'art dans le monde des experts. Paris: Jean-Michel Place, 2015.

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22

Giorgio De Chirico: Interno metafisico (Nature morte) : luglio-agosto 1933, già Collezione Emilio e Maria Jesi, Milano. Milano: Scalpendi, 2011.

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23

Rapino, Daniele. Il Tabernacolo di via Sant'Agostino a Firenze: Madonna con Bambino, Sant'Agostino, l'arcangelo Raffaele e Tobiolo : autore, Niccolò Nannetti (?) fine sec. XVII-inizi sec. XVIII : studio e restauro. Firenze: Edizioni Polistampa, 2015.

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24

Tummers, Anna. The eye of the connoisseur: Authenticating paintings by Rembrandt and his contemporaries. Los Angeles [Calif.]: J. Paul Getty Museum, 2011.

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25

Caravaggio, Michelangelo Merisi da, 1573-1610 and Reggia dei Volsci (Carpineto Romano, Italy), eds. I doppi di Caravaggio: Il mistero svelato dei due San Francesco in meditazione. Soveria Mannelli (Catanzaro): Rubbettino, 2010.

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26

Il sorriso di Giulia. Viterbo: Sette città, 2005.

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27

The lost Michelangelos. Cambridge: Polity Press, 2011.

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28

La cattura di Cristo da Caravaggio: Un recupero per le Gallerie degli Uffizi. Livorno: Sillabe, 2019.

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29

Giancarlo, Gentilini, and Museo Horne (Florence Italy), eds. Proposta per Michelangelo giovane: Un crocifisso in legno di tiglio. Torino: U. Allemandi, 2004.

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30

Il Maestro dei bambini turbolenti: Sandro di Lorenzo scultore in terracotta agli albori della Maniera. Perugia: Aguaplano, 2020.

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31

Leonardo plagiario? Lancino: Carabba, 2017.

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32

Ritratto di gentildonna. Poggio a Caiano (Prato): CB Edizioni Grandi opere, 2015.

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33

Abbate, Vincenzo, Maria Luisa Famà, and Gaetano Bongiovanni. Il Maestro del Polittico di Trapani: Opere restaurate del Museo Pepoli. Trapani: Museo regionale Pepoli, 2002.

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34

Caravaggio. Cinisello Balsamo (Milano): Silvana, 2009.

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35

Il San Girolamo di Lorenzo Lotto: Storia di una riattribuzione ai Musei di Bassano del Grappa. Treviso: ZeL edizioni, 2018.

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36

Caravaggio, Michelangelo Merisi da, 1573-1610, ed. Caravaggio: 1571-1610. Cinisello Balsamo, Milano: Silvana editoriale, 2021.

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37

(Sweden), Nationalmuseum, and Sinebrychoffin taidemuseo, eds. Caravaggio: The mystery of the two Saint Francis in meditation. Cinisello Balsamo (Milano): Silvana, 2009.

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38

Carrari, Baldassarre di Matteo. Gli enigmi di un dipinto: Da Nicolò Rondinelli a Baldassarre Carrari. Ravenna: Museo d'arte della città di Ravenna, 2008.

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39

Pascal, Cotte, ed. La bella principessa di Leonardo da Vinci: Ritratto di Bianca Sforza. Firenze: Mandragora, 2012.

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40

Jelly Roll Morton, la Old Quadrille e Tiger Rag: Una revisione storiografica = Jelly Roll Morton, the Old Quadrille and Tiger Rag : a historiographic revision. Lucca: Libreria Musicale Italiana, 2011.

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41

1951-, Acidini Luchinat Cristina, Gentilini Giancarlo, Paolucci Antonio, and Palazzo di Montecitorio (Rome, Italy), eds. Michelangelo giovane: Il crocefisso ritrovato. Torino: U. Allemandi, 2008.

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42

1951-, Acidini Luchinat Cristina, Gentilini Giancarlo, Paolucci Antonio, and Palazzo di Montecitorio (Rome, Italy), eds. Michelangelo giovane: Il crocefisso ritrovato. Torino: U. Allemandi, 2008.

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43

Caon, Bruno. Tiziano a San Giorgio delle Pertiche. Riviera San Marco: Edizioni del noce, 2013.

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44

Markl, Dagoberto L. O retábulo de S. Vicente da Sé de Lisboa e os documentos. Lisboa: Caminho, 1988.

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45

Markl, Dagoberto L. O retábulo de S. Vicente da Sé de Lisboa e os documentos. Lisboa: Caminho, 1988.

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46

Claire, Clivaz, and Université de Lausanne. Institut romand des sciences bibliques, eds. Ecritures et réécritures: La reprise interprétative des traditions fondatrices par la littérature biblique et extra-biblique : cinquième Colloque international du RRENAB, Universités de Genève et Lausanne, 10-12 juin 2010. Leuven: Peeters, 2012.

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47

Furbank, Philip Nicholas. Defoe de-attributions: A critique of J.R. Moore's Checklist. London: Hambledon Press, 1994.

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48

Machiavelli e la novella di Belfagor: Saggio di filologia attributiva. Roma: Salerno, 2007.

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49

The authenticity of the Pauline Epistles in the light of stylostatistical analysis. Atlanta, Ga: Scholars Press, 1990.

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50

Plecháč, Petr. Versification and Authorship Attribution. Karolinum Press, 2021. http://dx.doi.org/10.14712/9788024648903.

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Abstract:

The technique known as contemporary stylometry uses different methods, including machine learning, to discover a poem’s author based on features like the frequencies of words and character n-grams. However, there is one potential textual fingerprint stylometry tends to ignore: versification, or the very making of language into verse. Using poetic texts in three different languages (Czech, German, and Spanish), Petr Plecháč asks whether versification features like rhythm patterns and types of rhyme can help determine authorship. He then tests its findings on two unsolved literary mysteries. In the first, Plecháč distinguishes the parts of the Elizabethan verse play The Two Noble Kinsmen written by William Shakespeare from those written by his coauthor, John Fletcher. In the second, he seeks to solve a case of suspected forgery: how authentic was a group of poems first published as the work of the nineteenth-century Russian author Gavriil Stepanovich Batenkov? This book of poetic investigation should appeal to literary sleuths the world over.

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