the knowledge of bygone times of a nation and the discovery of the way through which their thought and culture and civilization developed throughout ages, are of great important for the next generations of that nation and their success in future ways of development. unquestionably, the literary works contain the greatest part of the cultural and mental products and legacy of a nation and deserv...

In this paper, a method is proposed to detect the emotion of a song based on its lyrical and audio features. Lyrical features are generated by segmentation of lyrics during the process of data extraction. ANEW and WordNet knowledge is then incorporated to compute Valence and Arousal values. In addition to this, linguistic association rules are applied to ensure that the issue of ambiguity is pr...

access to primary sources is necessary for studying the history of islamic civilization and sciences. many of these sources have gone missing over time and no manuscript of them has remained. in some cases, we can reconstruct these works by pursuing the old excerpts of them more recent works. this study aims at methodological reconstruction of the kitab al-mazar by sa‘d bin ‘abdullah al-ash‘ari...

Between the 15th and 16th century, main archetype of court poetry its “codice lirico”, represented by Petrarca in Rerum Vulgarium Fragmenta, could be flanked model lyrical Boccaccio, whose vulgar love works, including Filostrato, seem to alive memory pre-Bembian writers because presence, for example, stylistic features themes typical an elegiaco”.

Meg Groeling analyzes nineteenth-century American humor by examining the musings of Artemus Ward—alternate persona to Charles Farrar Browne—and his fans’ reactions work, including that Abraham Lincoln. Browne’s Ward was an “illiterate rube with ‘Yankee’ common sense,” explains. In short order, schtick evolved from newspaper essays internationally touring live-action show, complete purposefully ...

Stating the general specifications of our interactive opera research project -specific spectator/composer, spectator/work, music/text relationships, specific kinematics, new graphical metaphors of musical entities, we intiate a multimedia creativiy environment which should enable to free the spectator’s emotion.