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Data-based analyses are becoming more and more common in the Digital Humanities and tools are needed that focus human efforts on the most interesting and important aspects of exploration, analysis and annotation by using active machine learning techniques. We present our ongoing work on a tool that supports classification tasks for spoken documents (in our case: read-out post-modern poetry) using a neural networks-based classification backend and a web-based exploration and classification environment.
Ellipses denote the omission of one or more grammatically necessary phrases. In this paper, we will demonstrate how to identify such ellipses as a rhythmical pattern in modern and postmodern free verse poetry by using data from lyrikline which contain the corresponding audio recording of each poem as spoken by the original author. We present a feature engineering approach based on literary analysis as well as a neural networks based approach for the identification of ellipses within the lines of a poem. A contrast class to the ellipsis is defined from poems consisting of complete and correct sentences. The feature-based approach used features derived from a parser such as verb, comma, and sentence ending punctuation. The classifier of neural networks is trained on the line level to integrate the textual information, the spoken recitation, and the pause information between lines, and to integrate information across the lines within the poem. A statistic analysis of poet's gender showed that 65% of all elliptical poems were written by female poets. The best results, calculated by the weighted F-measure, for the classification of ellipsis with the contrast class is 0.94 with the neural networks based approach. The best results for classification of elliptical lines is 0.62 with the feature-based approach.
A large proportion of (post)-modern poetry contains no or hardly any punctuation. In our contribution, we will investigate how well punctuation information can be recovered for postmodern poetry based on the information contained in the text and speech of free verse poems. We use the world's largest corpus of spoken (post-)modern poetry from our partner lyrikline which contains the corresponding audio recording of each poem as spoken by the original author and features translations for many of the poems. We identify lines that contain a phrase break in the middle of the poetic line, which may already be helpful for philological analysis on one hand, and identify the position of the break in the line on the other hand. We select those poetic lines that contain one or more punctuation characters that typically indicate a phrase break in poetry (.,;:!?/) somewhere in the middle (rather than only at the end of the line) as our target class. We train a neural network (bidirectional recurrent neural network (RNN) based on gated recurrent units (GRU) with attention) that combines audio and textual features to identify the punctuation with the goal of applying it to reconstruct them within a corpus of unpunctuated poems. Our results clearly indicate that speech is helpful for recovering the constituency structure of post-modern poetry that is partially obfuscated by missing punctuation.
This paper presents the classification of rhythmical patterns detected in post-modern spoken poetry by means of machine learning algorithms that use manually engineered features or automatically learnt representations. We used the world's largest corpus of spoken poetry from our partner lyrikline. We identified nine rhythmical patterns within a spectrum raging from a more fluent to a more disfluent poetic style. The text data analyzed by a statistical parser. Prosodic features of rhythmical patterns are identified by using the parser information. For the classification of rhythmical patterns, we used a neural networks-based approach which use text, audio, and pause information between poetic lines as features. Different combinations of features as well as the integration of feature engineering in the neural networks-based approach are tested. We compared the performance of both approaches (feature-based and neural network-based) using combinations of different features. The results show – by using the weighted average of f-measure for the evaluation – that the neural networks-based approach performed much better in classification of rhythmical patterns. The important improvement of the classification results lies in the use of the audio information. The integration of feature engineering in the neural networks-based approach yielded a very small result improvement.
This work aims to discern the poetics of concrete poetry by using a corpus-based classification focusing on the two most important techniques used within concrete poetry: semantic decomposition and syntactic permutation. We demonstrate how to identify concrete poetry in modern and postmodern free verse. A class contrasting to concrete poetry is defined on the basis of poems with complete and correct sentences. We used the data from lyrikline, which contain both the written as well as the spoken form of poems as read by the original author. We explored two approaches for the identification of concrete poetry. The first is based on the definition of concrete poetry in literary theory by the extraction of various types of features derived from a parser, such as verb, noun, comma, sentence ending, conjunction, and asemantic material. The second is a neural network-based approach, which is theoretically less informed by human insight, as it does not have access to features established by scholars. This approach used the following inputs: textual information and the spoken recitation of poetic lines as well as information about pauses between lines. The results based on the neural network are more accurate than the feature-based approach. The best results, calculated by the weighted F-measure, for the classification of concrete poetry vis-à-vis the contrasting class is 0.96
The translation of poetry is a complex, multifaceted challenge: the translated text should communicate the same meaning, similar metaphoric expressions, and also match the style and prosody of the original poem. Research on machine poetry translation is existing since 2010, but for four reasons it is still rather insufficient:
1. The few approaches existing completely lack any knowledge about current developments in both lyric theory and translation theory.
2. They are based on very small datasets.
3. They mostly ignored the neural learning approach that superseded the long-standing dominance of phrase-based approaches within machine translation.
4. They have no concept concerning the pragmatic function of their research and the resulting tools.
Our paper describes how to improve the existing research and technology for poetry translations in exactly these four points. With regards to 1) we will describe the “Poetics of Translation”. With regards to 2) we will introduce the Worlds largest corpus for poetry translations from lyrikline. With regards to 3) we will describe first steps towards a neural machine translation of poetry. With regards to 4) we will describe first steps towards the development of a poetry translation mapping system.
Our paper focuses on the computational analysis of “readout poetry” (german: Hördichtung) – recordings of poets reading their own work – with regards to the most important type of this genre, the modern “sound poetry” (german: Lautdichtung). Whereas “readout poetry” often uses normal words and sentences, the “sound poetry”, developed by dadaistic poets like Hugo Ball and Kurt Schwitters or concrete poets like Ernst Jandl, Oskar Pastior, or Bob Cobbing, combines the “microparticles of the human voice” like the segments in Ernst Jandls sound poem “schtzngrmm” (“schtzngrmm / schtzngrmm / tttt / tttt / grrrmmmmm / tttt / sch / tzngrmm”). Within the genre of sound poetry, there are two main forms: The lettristic and the syllabic decomposition. A short anecdote will explain this difference: The dadaist Raoul Hausmann developed the lettristic sound poetry in his early dadaistic poem “fmsbw” from 1918. This is said to have inspired his successor Schwitters, whose famous “Ursonate” [The Sonata in Primal Speech] begins with the words “Fümms bö wö tää zää Uu”. With the “Ursonate”, Schwitters developed a syllabic variation of the lettristic poems of Hausmann. The paper shows how to train a bidirectional LSTM network in order to differ between these “dadaistic” sound poems and the “normal” read out poems. In a further step, we will also show how to distinguish between the lettristic and the syllabic decomposition. Based on a bidirectional LSTM network that reads encodings of the character sequence in the poem and uses the output of each directional layer, we identify poems of the sound poetry genre and differentiate between its two types of compositions. The classification results of sound poetry vs. other poetry as well as lettristic vs. syllabic decomposition are with a high performance, yielding a f-scores of 0.86 and 0.84, respectively.
The most important development in modern and postmodern poetry is the replacement of traditional meter by new rhythmical patterns. Ever since Walt Whitman's Leaves of Grass (1855), modern (nineteenth-to twenty-first-century) poets have been searching for novel forms of prosody, accent, rhythm, and intonation. Along with the rejection of older metrical units such as the iamb or trochee, a structure of lyrical language was developed that renounced traditional forms like rhyme and meter. This development is subsumed under the term free verse prosody. Our project will test this theory by applying machine learning or deep learning techniques to a corpus of modern and postmodern poems as read aloud by the original authors. To this end, we examine “lyrikline”, the most famous online portal for spoken poetry. First, about 17 different patterns being characteristic for the lyrikline-poems have been identified by the philological scholar of this project. This identification was based on a certain philological method including three different steps: a) grammetrical ranking; b) rhythmic phrasing; and c) mapping rubato and prosodic phrasing. In this paper we will show how to combine this philological and a digital analysis by using the prosody detection available in speech processing technology. In order to analyse the data, we want to use different tools for the following tasks: PoS-tagging, alignment, intonation, phrases and pauses, and tempo. We also analyzed the lyrikline-data by identifying the occurrence of the mentioned patterns. This analysis is a first step towards an automatic classification based on machine learning or deep learning techniques.