Fundamental principles of linguistic structure are not represented by ChatGPT

Background: While the neural substrates and cognitive components of creativity have received considerable attention in cognitive neuroscience, the creative use of language in social interaction has been less well studied. As part of a broader programme of research on language‐and‐memory‐in‐use in individuals with hippocampal amnesia, we analysed verbal play, a creative use of language that is pervasive in everyday communicative interaction. Aims: To identify instances of creative uses of language in the protocols of social and collaborative interactions, to characterise the qualitative nature, and to determine the frequency of these interactions initiated by participants with hippocampal amnesia vs comparison participants in order to ascertain whether amnesia impairs this aspect of social communication. Methods & Procedures: This study uses quantitative group comparisons and detailed discourse analysis to analyse verbal play in the interactional discourse sessions of four participants with hippocampal amnesia and four healthy (demographically matched) comparison participants, each interacting with a familiar partner while completing a collaborative referencing task and with a researcher between task trials. Outcomes & Results: All participants used verbal play. However, significantly fewer episodes were initiated in sessions with amnesia participants (312) and by participants with amnesia themselves (187) than in sessions with comparison participants (572) and by comparison participants (395). No significant group differences were observed for interactional forms, resources, or functions. Qualitative differences were also observed in amnesia sessions (e.g., more rotely produced episodes, lack of thematically linked episodes). Conclusions: These findings suggest that hippocampal amnesia disrupts the creative use of language in social interaction and accord with our previous work pointing to impairments in language‐and‐memory‐in‐use more broadly. These findings highlight the interdependence of language and memory especially in the interactional aspects of communication.

This paper presents the assumptions of linguistic poetics, a direction that combines – in a curricular manner – the research on poetry and interpretation of poetic works with an analysis of language uses in a statement. It presents the role played by M.R. Mayenowa in shaping this stream in the Polish literary studies seeking support in linguistics and enumerates the most significant curricular studies and linguitic concepts employed in analyses of the represented world of poetry as “the world behind words”. The enclosed analysis of the lyric by Urszula Kozioł Jest mi miałko… (I’m feeling bland...) is an illustration of the methodology presented here. It shows the sense-creative capabilities of language activated in a description of an unusual state of the lyrical I of the poem–confession, who is experiencing elusive feelings that are hard to express. The whole complex organisation of the poetic statement serves the purpose of outlining these unique experiences and the evoked senses can be reached only through an in-depth analysis of the language uses in the text. Keywords: creative use of language – poetry – linguistic poetics – Urszula Kozioł – description – confession

It takes an average of 10-15 years to uncover and develop a new drug, and the process is incredibly time-consuming, expensive, difficult, and ineffective. In recent years the dramatic changes in the field of artificial intelligence (AI) have helped to overcome the challenges in the drug discovery pipeline. Artificial intelligence (AI) has taken root in various pharmaceutical sectors, from lead compound identification to clinical trials. Deep learning (DL) is a component of artificial intelligence (AI) that has excelled in many fields of Artificial intelligence (AI) research over the past decades. Its numerous applications in the realms of science and technology, especially in biomedicine and bioinformatics, are witnessed deep learning (DL) applications significantly accelerate drug discovery and pharmaceutical research in recent years, and their usefulness has exceeded expectations and shown good promise in tackling a range of issues with drug discovery. Deep learning (DL) holds great potential for drug development since it allows for sophisticated image interpretation, molecular structure and function prediction, and the automated creation of novel chemical entities with specific features. In the process of drug discovery, deep learning (DL) can be incorporated at all stages like identification of targets, prognostic biomarkers, drug designing and development, synergism and antagonism prediction, etc. This review summarizes various approaches of deep learning (DL) in drug discovery like deep generative models for drug discovery, deep learning (DL) tools for drug discovery, synergy prediction, and precision medicine.

This article describes the artificial intelligence (AI) component of a drone for monitoring and patrolling tasks associated with disaster relief missions in specific restricted disaster scenarios, as specified by the Advanced Robotics Foundation in Japan. The AI component uses deep learning models for environment recognition and object detection. For environment recognition, we use semantic segmentation, or pixel‐wise labeling, based on RGB images. Object detection is key for detecting and locating people in need. Since people are relatively small objects from the drone perspective, we use both RGB and thermal images. To train our models, we created a novel multispectral and publicly available data set of people. We used a geo‐location method to locate people on the ground. The semantic segmentation models were extensively tested using different feature extractors. We created two dedicated data sets, which we have made publicly available. Compared with the baseline model, the best‐performing model could increase the mean intersection over union (IoU) by 1.3%. Furthermore, we compared two types of person detection models. The first one is an ensemble model that combines RGB and thermal information via “late fusion”; the second one is a 4‐channel model that combines these two types of information in an “early fusion” manner. The results suggest that the 4‐channel model had a 40.6% increase of average precision for stricter IoU values (0.75) compared with the ensemble model and a 5.8% increase in the average precision compared with the thermal model. All models were deployed and tested on the NVIDIA AGX Xavier platform. To the best of our knowledge, this study was the first to use both RGB and thermal data from the perspective of a drone for monitoring tasks.

The article explores children’s creative use of language in the classroom and the teacher’s subsequent response. The study draws from video-ethnographic research in two primary schools in Italy and adopts an ethnographic approach combined with the analytical instruments of Conversation Analysis. As the analysis illustrates, children publicly perform wordplay to co-construct a shared humorous sequence with their peers. This practice emerges both in the peer group and in whole-class interactions that involve the teacher. In the latter case, the teacher aptly exploits children’s wordplay to pursue specific social and didactic aims. It is argued that children’s creative use of language is germane to children’s negotiation of their peer relationships and potentially relevant to their gradual process of socialization into the classroom community.

In this project, a storybook called Guardians of the Sea (Edwards, 2020) will serve as a common thread to enhance the development of linguistic skills among students, as well as STEAM-related skills. The activities proposed, which encourage the use of language in real situations, will foster students’ creative use of language to communicate their understanding to their peers. In relation to the scientific units, content related to materials, material properties, their impact on the environment (plastics), and care for the environment will all be covered. Moreover, reflecting on the social environment and the search for solutions to real problems will be promoted, developing critical thinking and responsible attitudes toward the environment.

This essay traces out the importance of the poetic and creative use of language to Merleau-Ponty’s ontology. Why Merleau-Ponty’s phenomenology of embodiment inevitably had to turn towards a poetic use of language and to see the overlap between literature and philosophy in articulating an ontology is examined. The tie between a deeper sense of metaphor and the structure of the flesh of the world is explored. The attempt to articulate the latent background of perception leads to the essential role of what will be called the “physiognomic imagination”, which is a different use of imagination than “make-believe” and is key to the unfolding of the depths of perceptual sense. Understanding the efficacy of the literary use of language to the manifestation of further sense also requires an understanding of the temporality of the institution and the ongoing becoming of the real in Merleau-Ponty’s ontology. This essay argues that Merleau-Ponty’s turn to poetic language was both a source of his insights for ontology and the way that he came to express his own philosophy as a necessary outcome of fidelity to the phenomenology of perception. Given the parallel structure of the flesh of the world and metaphor, the dialogical nature of the perceptual encounter with the “voice of silence”, and the increasing importance of physiognomic imaginations, the temporality of institution and “sensible ideas” to his indirect ontology, the literary and poetic use of language had to assume a central role in the articulation of the flesh ontology as well as to the further manifestation of sense. This assertion is meant to rectify the reading and commentaries that fail to see this necessity and instead interpret Merleau-Ponty’s increasing use of poetic language as merely a residue of his evolving writing style and not as the necessary outcome of his ontological insights. This essay is also meant to address phenomenologists who fail to turn to literature and the poetic expression of embodied ontology as failing to carry forth Merleau-Ponty’s revisioning of philosophy and centrality of perception and embodiment.

When creative uses of spoken language have been investigated, the main examples have been restricted to particular contexts such as narrative and related story‐telling genres. This paper reports on an initial investigation using the 5 million word CANCODE corpus of everyday spoken English and discusses a range of social contexts in which creative uses of language are manifested. A main conclusion reached is that creative language use often signposts the nature of interpersonal relationships, plays an important role in the construction of identities and is more likely to emerge in social contexts marked by non‐institutionalized, symmetrical, and informal talk. The paper also argues that different creative patterns of talk are produced for different purposes, that clines and continua best capture such distinctions and that applications of such understandings to language learning and teaching, including the teaching of literature and culture, can benefit from closer scrutiny of such data.

The narrators in William Gass's fiction attempt relentlessly to yoke signs and being, to replace an inchoate world with their noetic, their verbal structures. The same impulse prods Donald Barthelme's Snow White to utter her lament, "O I wish there were some words in the world that were not the words I always here."1 Perceiving a mundane, banal milieu around her, she betrays a yearning for the kind of language play that has not turned being into a cliché, into the jejune phrasing that has cosseted the world. In this sense, as it is for E.L. Doctorow in "False Documents," creative use of language produces liberation from reified perceptions of the world and concomitantly from sterile visions of America. The attempt on the part of the metafictionists and their protagonists is to undermine the status of those false documents which have become ensconced as reality. The purpose is not to supplant those documents with truer ones (though occasional thrasonical narrators try); rather, it is to expose the palpable fictiveness of those and any documents that purport to explain world, that masquerade as truth rather than as construct.

Health practitioners face many challenges when caring for and communicating with dying persons. As truth-tellers, we search for ways to communicate with honesty, sensitivity, and compassion. Creative use of language is one aspect of caring. Metaphorical communication can be a healing modality, one consistent with communication as an art. This article suggests that metaphor is a powerful and sensitive form of language that offers a range of characteristics particularly suitable for the art and the challenge of communicating with dying people. Metaphor, as figurative language, provides a permissible way of saying one thing and meaning another. It allows us to share a truth without the glare of reality. This author contends that metaphor is mysterious, creative, invitational, safe, open to interpretation, respectful and playful. The creative and judicious use of metaphor provides health care practitioners with many veils--veils that shield the dying from the glare of their prognosis, veils particularly valuable and suited in communicating with our palliative patient population.

This article introduces an intelligent assistant architecture that allows replacing existing modules and plugging new modules without requiring any code changes thanks to its modular and extensible structure. Our proposal supports multiple natural languages and at the same time allows the integration of any external artificial intelligence or IoT component easily. The software that we developed understands the commands in English and Turkish languages and transmits the answers to the user in these languages. Through our domain-specific language, different artificial intelligence components can be integrated into the system. Thanks to this domain specific language, only specific conversations are detected and the artificial intelligence module can be called. However, human speech contains many synonyms and we cannot always achieve the exact word by word. For this reason, we offer a system that understands the meanings of sentences and learns what the user wants to do when necessary.

Although there is now a growing volume of literature on the role of electronic mail in schools, relatively little has been published about the specific value to modern language teachers of using such technology. In the few cases where projects have been described, it is claimed that such links are ‘valuable’ (NCET, 1991), with an implication that school age students are able to go beyond ‘mere transactional language’ to develop ‘more creative use of language’. This paper describes a language project which began from the premise that for teachers to embark on e-mail, with its additional costs, new approaches to classroom learning and training requirements, it would be essential to establish what realistic learning improvements might be expected. To look closely at the ‘cost-benefit’ ratio was felt to be particularly important in the context of increasingly tight budgetary control in schools.

The Century's Adolescent Turn Richard Flynn (bio) JohnNeubauer . The Fin-de-Siècle Culture of Adolescence. New Haven: Yale UP, 1992. Earlier this year, as I was preparing to teach adolescent literature for the first time, I went in search of criticism that could help me historicize the concept of adolescence. I was reasonably confident in my understanding of the historical, cultural, and literary construction of childhood, but adolescence seemed elusive; it was a liminal no-person's land and a construct that, I knew, had an even more recent history than childhood. Among the books I turned to with high expectations was John Neubauer's The Fin-de-Siècle Culture of Adolescence. Neubauer, a professor of comparative literature at the University of Amsterdam, proposes early in his study "that adolescence 'came of age' in the decades around 1900" when "interlocking discourses about adolescence emerged in psychoanalysis, psychology, criminal justice, pedagogy, sociology, as well as in literature" (6). Here, I thought, was the wide-ranging text I had been looking for. Indeed, The Fin-de-Siècle Culture of Adolescence is such a text—a complex study of the social, historical, and literary forces that have produced our Western discourse about an ever-elusive and recently invented developmental state. Adolescence, which Neubauer defines early on "as a middle-class social formation in industrial societies generated by the expansion of secondary education" (6), is also a powerful creation of historical, cultural, and literary discourses. "Tackling" these "problems" is, for the scholar, "an endless task, just as mastering adolescence is" (12). Neubauer begins with literature and examines the ways in which "metaphoric identity" is employed in the modernist third-person narration of Joyce's A Portrait of the Artist as a Young Man, Mann's Tonio Kroger, and Musil's Die Verwirrungen des Zöglings Törless. The distance between the adult narrator and the adolescent protagonist in these texts produces an "attitude that fluctuates between irony and compassion": [End Page 235] In the discourse of these narrators, intellectual condescension, irony and retrospective nostalgia intermingle so ambiguously that their attitude with respect to their protagonist may become, as in the case of A Portrait, a matter of interpretive dispute. The adolescent protagonist is naive and confused but more intense and authentic than the adult narrator, and he matures to gain wisdom and insight often at the cost of authenticity and freedom. The narrator may ridicule the protagonist's discourse, adopt it, or sentimentally portray it as a mode irretrievably lost for him. . . . (14) Examining the conventional constraints Joyce imposes on Stephen Dedalus's figurative language (his villanelle, for example), Neubauer notes that an "adoptive rather than purely creative use of language" is a hallmark of adolescent protagonists in modernist narratives. Furthermore, he theorizes that the modernist skepticism about the self and the "polyperspectival and distanced representation" favored by modernist writers helps to explain the frequency with which these writers used adolescence (created and represented from the distance of adulthood) as "an important testing ground for the modernist narrative" (30-31). In his later literary chapters, Neubauer discusses "the early twentieth century genre of adolescent fiction, the 'peer-group narrative'" (Valery Larbaud's Fermina Marquez, Alain Fournier's Le Grand Meaulnes, Hermann Hesse's Demian, and Jacques de Lacretelle's Silbermann), in which first-person male narrators "recall their adolescent friendship with the protagonist named in the title" (32), and the fiction of "social context" such as Kipling's Stalky and Co. and other school stories. In chapter four, he provides an illuminating discussion of the transition from the childhood metaphor of the garden to the adolescent metaphor of enclosed urban spaces. The literary analysis concludes with a provocative overview of literary adolescence. In this chapter, Neubauer, building on the insights of Patricia Meyer Spacks in The Adolescent Idea (1981), shows that adolescence at the turn of the century forms the basis for a new "'social mythology,' in which maturity is no longer the standard and adolescence is often the subject of glorification." The fin-de-siècle rise of the bildungsroman is analogous to the romantic focus on the child; in the history of the novel, vagabond picaros are replaced...

We address the issue of poetic discourse in classical Chinese poetry and propose the use of imageries as characteristic anchors that stylistically differentiate poetic schools as well as individual poets. We describe an experiment that is aimed at the use of ontological knowledge to identify patterns of imagery use as stylistic features of classical Chinese poetry for authorship attribution of classical Chinese poems. This work is motivated by the understanding that the creative language use by different poets can be characterised through their creative use of imageries which can be captured through ontological annotation. A corpus of lyric songs written by Liu Yong and Su Shi in the Song Dynasty is used, which is word segmented and ontologically annotated. State-of-the-art techniques in automatic text classification are adopted and machine learning methods applied to evaluate the performance of the imagery-based features. Empirical results show that word tokens alone can be used to achieve an accuracy of 87% in the task of authorship attribution between Liu Yong and Su Shi. More interestingly, ontological knowledge is shown to produce significant performance gains when combined with word tokens. This observation is reinforced by the fact that most of the feature sets with ontological annotation outperform the use of bare word tokens as features. Our empirical evidence strongly suggests that the use of imageries is a powerful indicator of poetic discourse that is characteristic of the two poets concerned in the study.

The article considers the potential of corpus linguistics as an empirical method of modern linguistic research, highlights its advantages for phraseological studies and outlines the possibilities of using the Internet as a linguistic corpus Computer-mediated communication demonstrates a peculiar combination of features of oral and written speech, which is explained by specific parameters of the channel and means of communication (electronic text, hypertext, multimedia, interactivity, simultaneousness, variability in the number and explicitness of communicators). The functioning of communicative and expressive phraseology in asynchronous Internet communication is defined as one of the constituents of this mediolect. Phraseological units of this type are considered as a functional field of phraseological expressives and communicatives.The rich illustrative material revealed the wide and often linguistically creative use of the studied phraseological units, including units with pronounced national and cultural specifics, in the modern German-language media space. These units not only embody the background knowledge common to this linguistic community, but also, given the specifics of their meaning and emotional and expressive color, convey a common “background” humor, express the commonality of emotional and evaluative worldview.The phraseological unit Jetzt schlägt’s dreizehn! was chosen for the empirical corpus check. In lexicographic sources, semantic and translational equivalents are based on associations with both “extremity” and danger (symbolic component) with an obvious negative emotional and evaluative semantic component (indignation).The study analyzed 40 contexts of using this unit in online media articles. The lexicographically codified meaning of something transcends all boundaries, causing outrage was found only in 13 cases, in 10 of which there is a double actualization of the idiom meaning (explication of the number thirteen). The number thirteen was associated with a “superstitious” interpretation of it as dangerous in 5 other contexts, but in spite of this, good news was announced. In most of the analyzed case examples (22) the use of Jetzt schlägt’s dreizehn! turned out to be unexpected: the number thirteen is combined with the announcement of a positive event without explication of its symbolic interpretation. The phraseological unit acquires the meaning something incredible becomes possible; the decisive moment has come.Analysis of 40 usage contexts of Jetzt schlägt’s dreizehn! in the messages on the forums confirmed the uncharacteristic creative language use of phraseological expressives and communicatives in asynchronous communication in comparison with the texts of professional journalists. In 35 messages, this unit is used in its lexicographically codified meaning. In 5 cases Jetzt schlägt’s dreizehn! conveys joy, a pleasant surprise and acquires the meaning something incredible becomes possible; the decisive moment has come.The possibility of applying this method in phraseographic projects is argued.Key words: corpus linguistics, Internet-communication, forum, online media, communicative and expressive formulas, ambiguity of idioms. У статті розглядається потенціал корпусної лінгвістики як емпіричного методу сучасних лінгвістичних досліджень, викладаються його переваги для фразеологічних студій і окреслюються можливості використання Інтернету як лінгвістичного корпусу.У комп’ютерно опосередкованій комунікації спостерігається своєрідне поєднання ознак усного й писем-ного мовлення, яке пояснюється специфічними параметрами каналу й засобу комунікації (електронна форма існування тексту, гіпертекст, мультимедійність, інтерактивність, синхронність, варіативність кількості й експліцитності комунікантів). Функціонування в асинхронній Інтернет-комунікації комунікативно-експресивної фразеології визначається як один із конституентів цього медіолекту. Фразеологічні одиниці такого типу розглядаються як функціональне поле фразеологічних експресивів і комунікативів.Багатий ілюстративний матеріал дозволив виявити широке й часто мовнокреативне вживання досліджуваних фразеологічних одиниць, у тому числі одиниць із вираженою національно-культурною специфікою, в сучасному німецькомовному медіапросторі. Ці одиниці не лише втілюють спільні для такої лінгвоспільноти фонові знання, але й з огляду на специфіку їхнього значення та емоційно-експресивне забарвлення передають спільний «фоновий» гумор, виражають спільність емоційно-оцінного світосприйняття.Для емпіричної корпусної перевірки було обрано фразеологічну одиницю Jetzt schlägt’s dreizehn! У лексикографічних джерелах в основі семантичних і перекладних еквівалентів лежать асоціації як із «надмірністю», так і з небезпекою (символьна складова частина) з очевидним негативним емоційно-оцінним семантичним компонентом (обурення).У ході дослідження проаналізовано 40 контекстів вживання одиниці в статтях онлайн-засобів масової інформації. Лексикографічно кодифіковане значення «щось переходить усі межі, викликає обурення» було виявлено лише в 13 випадках, у 10 з яких прослідковується подвійна актуалізація значення фразеологізму (експлікація числа тринадцять). Число тринадцять асоціювалося із «забобонним» тлумаченням його як небезпечного ще в 5 інших контекстах, проте всупереч цьому анонсувалась приємна новина. У більшості проаналізованих корпусних прикладів (22) вживання Jetzt schlägt’s dreizehn! виявилось неочікуваним: число тринадцять поєднується з розповіддю чи анонсуванням позитивної події без експлікації його символьного тлумачення, фразеологічна одиниця набуває значення «неймовірне стає можливим; настав вирішальний момент».Аналіз 40 контекстів вживання Jetzt schlägt’s dreizehn! у повідомленнях на форумах підтвердили нехарактерність мовнокреативного вжитку фразеологічних експресивів і комунікативів в асинхронній комунікації в порів-нянні з текстами професійних журналістів. У 35 повідомленнях ця одиниця вжита у своєму лексикографічно кодифікованому значенні. У 5 випадках Jetzt schlägt’s dreizehn! передає радість, приємну несподіванку й набуває значення «неймовірне стає можливим; настав вирішальний момент».Аргументується можливість застосування такого методу у фразеографічних проєктах.Ключові слова: корпусна лінгвістика, Інтернет-комунікація, форум, онлайн-ЗМІ, фразеологічні експресиви й комунікативи, подвійна актуалізація значення.