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Reference in narrative

Xem 1-12 trên 12 kết quả Reference in narrative
  • Narrative passages told from a character's perspective convey the character's thoughts and perceptions. We present a discourse process that recognizes characters' thoughts and perceptions in third-person narrative. An effect of perspective on reference In narrative is addressed: references in passages told from the perspective of a character reflect the character's beliefs. An algorithm that uses the results of our discourse process to understand references w i t h respect to an appropriate set of beliefs is presented. ...

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  • Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen. For instance, the device of the show- girl allows the two looks to be unified technically without any apparent break in the diegesis. A woman performs within the narrative, the gaze of the spectator and that of the male characters in the film are neatly combined without breaking narrative verisimilitude.

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  • Generating referring expressions is a key step in Natural Language Generation. Researchers have focused almost exclusively on generating distinctive referring expressions, that is, referring expressions that uniquely identify their intended referent. While undoubtedly one of their most important functions, referring expressions can be more than distinctive. In particular, descriptive referring expressions – those that provide additional information not required for distinction – are critical to fluent, efficient, well-written text. ...

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  • The nature of annuities and their potential to be considered both insurance and in- vestment products complicated attempts during this study to differentiate annuities sold by insurance companies as insurance products from those annuities that qualify solely as investment products that happened to be sold by insurance companies. The SAR narratives reference annuities in the manner portrayed in Table 7.

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  • The purpose of this book is to provide both an introduction and a state-of-the-art review of the essential physics and signal processing principles of diagnostic ultrasound in a single reference volume with a unified approach. This book draws together many of the ideas from seminal papers, the author’s research, and other sources in a single narrative and point of view. Unlike texts that present only the theory of acoustic fundamentals, this book relates topics to each other in the context of ultrasound imaging and practical application.

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  • The first difference to notice is that PRINCE2 is clearly project life cycle based with six out of eight major processes running from "Starting up a project" to "Closing a project". The remaining two, "Planning" and "Directing a project" are continuous processes supporting the other six. Each of these have their respective sub-process totaling 45 in all. Then, feeding into the system, are six "Components" some of which are documents and others that are themselves processes.

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  • Although there is an extensive body of research concerned with anaphora resolution (e.g. (Fox, 1987; Grosz et al., 1995)), event anaphora has been widely neglected. This paper describes the results of an empirical study regarding event reference. The experiment investigated event anaphora in narrative discourse via a sentence completion task. The results of the experiment suggest that the discourse structure established by an explanation or elaboration relation has an influence on whether the last mentioned event, previously mentioned events or a complex event is preferably referred to.

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  • Wuthering Heights is the only novel by Emily Brontë. It was first published in 1847 under the pseudonym Ellis Bell, and a posthumous second edition was edited by her sister Charlotte. The name of the novel comes from the Yorkshire manor on the moors on which the story centres (as an adjective; wuthering is a Yorkshire word referring to turbulent weather). The narrative tells the tale of the all-encompassing and passionate, yet thwarted, love between Heathcliff and Catherine Earnshaw, and how this unresolved passion eventually destroys them and many around them....

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  • The narrative behind Simplified Ecosystem Capital Accounts (SECA): Ecosystems can be described as capital which delivers a bundle of services to people, some of which are appropriated and incorporated into products, accumulated and/or consumed. Other services are public goods of common benefit to the economy and human wellbeing. Altogether, these ecosystem services depend on ecosystem capital regeneration which is in turn influenced by ecosystem services consumption.

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  • Because the SAR-SF form is not tailored to the insurance industry, analysts for this study used the narratives to attempt to identify the exact reason for each filing. Us- ing the list of characterizations of suspicious activities in the proposed dedicated SAR form for insurance companies as a reference, analysts divided the filings into categories for statistical purposes. Table 11 includes a breakdown of the reasons derived from information in the narratives for the 641 filings.

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  • Third, this data does not directly compare with other information collected on the SAR form with reference to the specific instruments involved in the reported trans- actions, as discussed infra. For example, analysis identified 225 filings that involved annuities, however, Table 1 shows 197 filings that named an annuity owner or ap- plicant as a subject in the narrative, based on a relationship to an annuity.

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  • Certain spans of utterances in a discourse, referred to here as segments, are widely assumedto form coherent units. Further, the segmental structure of discourse has been claimed to constrain and be constrained by many phenomena. However, there is weak consensus on the nature of segments and the criteria for recognizing or generating them. We present quantitative results of a two part study using a corpus of spontaneous, narrative monologues. The first part evaluates the statistical reliability of human segmentation of our corpus, where speaker intention is the segmentation criterion. ...

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