Kind Of Repetition Research Articles

Синтаксические средства экспрессивности (на материале заголовков удмуртских публицистических текстов)

The study aims to describe the features of the structural-semantic organization of the titles of journalistic texts in Udmurt within the framework of expressive syntax. The scientific novelty lies in identifying the expressive-evaluative potential of the title as a structural element of mass media texts; in determining syntactic redundancy and syntactic insufficiency in the lexico-grammatical structures of the Udmurt language. The results suggest that syntactic heterogeneity is peculiar to the titles of journalistic texts in Udmurt. Based on the analysis of the title structure of the “Udmurt dunne” newspaper for 2020-2023, it was found that the authors of the articles prefer such stylistic devices as inversion, elliptical sentences, rhetorical exclamations, which are primarily used to express the emotive, attractive and appellative functions. Various kinds of repetitions, gradation, parcelling and polysyndeton are characterized by low frequency, accounted for by the internal specifics of the newspaper title, which tends to brevity of expression. The use of various means and devices in the titles of journalistic texts makes it possible to perform the influencing, expressive, attractive, appellative, narrative functions of a newspaper text.

Слово и музыка: жанр авторской песни (на примере творчества Владимира Илюшенко)

The article by E. Chigareva is devoted to the phenomenon of the author’s song on the example of the work of the poet Vladimir Ilyushenko. Poems-songs are considered in parallel from the point of view of poetic devices and their reflection in the melody of songs. Particular attention is paid to the syntactic and compositional levels of poetic and musical organization, on which this similarity is especially noticeable (syntactic parallelism, various kinds of repetitions, sometimes modified lines and stanzas). The article raises the problem of the creative process and the peculiarities of its manifestation in the genre of art song. For this, the poet’s comments are used (in particular, an interview with Vladimir Ilyushenko). Analytical observations are supported by concrete examples.

Offset-FA: A Uniform Method to Handle Both Unbounded and Bounded Repetitions in Regular Expression Matching.

With the exponential growth of cyber–physical systems (CPSs), security challenges have emerged; attacks on critical infrastructure could result in catastrophic consequences. Intrusion detection is the foundation for CPS security protection, and deep-packet inspection is the primary method for signature-matched mechanisms. This method usually employs regular expression matching (REM) to detect possible threats in the packet payload. State explosion is the critical challenge for REM applications, which originates primarily from features of large character sets with unbounded (closures) or bounded (counting) repetitions. In this work, we propose Offset-FA to handle these repetitions in a uniform mechanism. Offset-FA eliminates state explosion by extracting the repetitions from the nonexplosive string fragments. Then, these fragments are compiled into a fragment-DFA, while a fragment relation table and a reset table are constructed to preserve their connection and offset relationship. To our knowledge, Offset-FA is the first automaton to handle these two kinds of repetitions together with a uniform mechanism. Experiments demonstrate that Offset-FA outperforms state-of-the-art solutions in both space cost and matching speed on the premise of matching correctness, and achieves a comparable matching speed with that of DFA on practical rule sets.

Effectiveness in L2 Vocabulary Study – A Classroom-based Investigation of Deliberate Learning

Deliberate vocabulary study has mostly been studied within a strictly experimental framework of learning and memorization. More ecologically valid investigations embedded in existing study contexts have been rare. This study fits into the latter paradigm, investigating how students attempted to learn 90 English words over a period of three weeks and tracking their efforts via study logs and intermediate receptive and productive tests, with final testing five weeks after the study period. The results are in line with findings from earlier research. Study logs showed students mainly relied on different kinds of repetition and retrieval. Selective attention for specific items was an important predictor for short-term learning, and sufficient spacing was the most important predictor for longer-term learning. From a pedagogical point of view, a point of attention is that students mostly practised retrieval after first repeating, making retrieval less difficult and creating an impression of knowledge.

The role of lexical homogeneity in the poetry rhythm of Hazin Lahiji

Hazin Lahiji is one of the prominent poets of the twelfth century AH (1103-1180). A poet who has been the center of many literary controversies and conflicts of his time, he is also a rhythm and a criterion for measuring the poems of his contemporaries, and the so-called "corrector", he has personality that Indian grandee are proud to talk to him. The aim of this writing, with attention to the homogeneity of words in creating rhythm and integration into poetry and with analytical-descriptive method, and with formalistic approach; is to show how Hazin Lahiji creates the most rhythm from the beauties of rhetorical industries and the aspect of their order and coherence in their proper place and time, and how to connect the rhythm of poetry with other elements, in order to add value to the sound and music of poems. And he uses a kind of understanding between his thought and sympathy with the audience to show the distinctive poetic language. To explain this issue, he organized disciplines under two general categories "imperfect” and "perfect balance" and examined the role of industries related to each category as a process of de-familiarization through the music of Hazin (sad) poems. The present study shows that Hazin Lahiji, with the knowledge of the aesthetic aspects of word music, has been able to affect the soul and spirit of the audience by all kinds of repetition and observing the appropriateness of words and choosing beautiful words in the right place, and to express himself poetically as much as possible and to release his words from the usual hierarchy and linearity.

Lyrics segmentation via bimodal text–audio representation

AbstractSong lyrics contain repeated patterns that have been proven to facilitate automated lyrics segmentation, with the final goal of detecting the building blocks (e.g., chorus, verse) of a song text. Our contribution in this article is twofold. First, we introduce a convolutional neural network (CNN)-based model that learns to segment the lyrics based on their repetitive text structure. We experiment with novel features to reveal different kinds of repetitions in the lyrics, for instance based on phonetical and syntactical properties. Second, using a novel corpus where the song text is synchronized to the audio of the song, we show that the text and audio modalities capture complementary structure of the lyrics and that combining both is beneficial for lyrics segmentation performance. For the purely text-based lyrics segmentation on a dataset of 103k lyrics, we achieve an F-score of 67.4%, improving on the state of the art (59.2% F-score). On the synchronized text–audio dataset of 4.8k songs, we show that the additional audio features improve segmentation performance to 75.3% F-score, significantly outperforming the purely text-based approaches.

Repetition and variation in the Catalan translation of Virginia Woolf's The years: a corpus-based approach

ABSTRACT The present study is a corpus-based contrastive analysis of the use of repetitive patterns in Virginia Woolf's novel The Years (1937) and its Catalan translation (1988) by Maria-Antònia Oliver. For our study, we build a parallel corpus in which both the source text and the translation are aligned, and then focus on three kinds of repetition: (a) The question Where am I?; (b) the phrase hum in time to + N, and (c) the construction ‘verb indicating stillness (sit, stay …) + for a moment + verb of perception.' All these patterns are stylistic devices that Woolf uses for the representation of time in its diverse and overlapping manifestations: as an external measurable dimension and as an internal continuous stream. The use of a parallel corpus allows us to study how all occurrences of these repetitions have been translated into Catalan and to identify the semantic prosody surrounding the three expressions in both English and Catalan. Finally, our corpus-based approach provides evidence for a description of Oliver's translation method, which we define as intentionally literal, though mindful of the numerous stylistic and lyrical effects that can characterize Woolf's prose.

Апокалиптика революции и подвижничество в поэме Б. Л. Пастернака «Лейтенант Шмидт»

The paper investigates the structure and significance of a mythopoetic component in the poem “Lieutenant Schmidt” (1926–1927) by B. Pasternak, revealing that mythopoetics contributes to the expression of the author’s Christian views on the events of the Russian revolution of 1905–1907. It depicts the Sevastopol Uprising as a kind of repetition of the tragic history of capture of Kyiv by Mongols-Tatars in the 13th century, as well as the represents bloody realities of the Great French Revolution of the late 18th century, since these events resulted from the fact that society neglected the spiritual and moral foundations of its existence. According to the author the images, arising in the subtext, the images of the Church of the Tithes destroyed in 1240, the Declaration of the Rights of Man and of the Citizen (1789) and the October Manifesto (1905), not implemented in time, are the embodiments of such foundations. At the same time, the study emphasizes the significance of a philistine appearance of the “sleeping” fortress-city of Sevastopol. The author draws attention to the fact that the leitmotif of representing the spiritual sleep, lying and violence is the image of the rampant demonic force which eventually engulfed both warring parties. As she argues, there is, however, an antagonistic spiritual origin of this element in the poem — it is exactly in the image of Lieutenant Schmidt who embodies the idea of evangelical self-sacrifice in the era of violence and lack of spirituality. The paper analyzes the nature of internal conflict experienced by the hero, as well as the dynamics of the plot lines connected with him and highlights the role of biblical, historical and literary allusions. The author concludes that the work under study reveals characteristic features of a historical and mythological poem.

Women activists’ strategies of online self-presentation

Activists present themselves on- and offline using a diverse range of tools, discursive strategies, and means of self-presentation, all conducive to making both themselves and their cause well known. To that end, of paramount importance is their ability to make audiences and readers empathize, and a key factor all strategies have in common is the repetitive nature of their multiplatform, multimodal discourse. I build on previous research about platforms such as Twitter and TED talks as forms of self-narration to look at the ways human rights activists deploy such strategic communicative techniques to construct a public persona. I focus on young women from the Global South using English as a lingua franca. These tend to re-use rhetoric drawn from famous historical figures who stood for social justice in the past, and nuanced repetitive techniques characterized by emotion and affect to mobilize various constituencies. Both kinds of repetition, enhanced by the affordances of technology, create a new kind of ubiquity and can thus potentially influence policymaking. The article makes the case that the recent global viral popularity of young women activists such as Malala Yousafzai, Bana Alabed, and Nujeen Mustafa deserves deeper analysis. At stake is whether digital affordances of immediacy and reach can not only amplify such activists’ messages, but help them cross new borders and create new kinds of transnational solidarity.

The use of Classroom routines in memorization and further development of communicative competence

The paper deals with the issue of memorization and acquisition of a target language unit by performing multiple repetitions while avoiding dullness and boredom. The author highlights the considerable role of classroom routines in memorization of target language units and further strengthening of communicative competence. Classroom routines are regarded as a powerful resource to solve a significant teaching problem connected with performing multiple repetitions and at the same time avoiding monotony. This article aims to analyze the use of classroom daily routines in memorizing target language units and to offer a set of activities aimed at forming and developing such components of students’ communicative competence as grammatical competence (words and rules) and discourse one (cohesion and coherence). Various methods, strategies, techniques based on multiple repetitions of the same content are taken into consideration. Special attention is paid to drilling techniques. The peculiarities of meaningful repetition are revealed and as a result, the meaningful drilling technics are offered. Learners of foreign languages retain new language units much more successfully not by rote memorization but when they get frequent repetition of these language units, make meaningful connections to real life and when these connections are personalized. In real life, people are frequently forced to repeat the same many times while performing daily routines. Such kind of repetition is natural. In foreign language teaching performing daily routines acts like an artificial linguistic environment and can work as a kind of language immersion. The author offers some examples of activities aimed at forming, developing, and strengthening such components of students’ communicative competence as grammatical competence (words and rules) and discourse one (cohesion and coherence). They are described in the most frequently used formats. Classroom routines are certain to be a powerful resource to solve the problem connected with performing memorization and at the same time avoiding dullness and tedium. It is proved that well-organized daily classroom routines performing activities ensure substance memorization, not rote one. Moreover, properly organized daily classroom routines are supposed to reduce teacher talking time and consequently to increase student talking time.

Universal reconstruction of a string

Many properties of a string can be viewed as sets of dependencies between substrings of the string expressed in terms of substring equality. We design a linear-time algorithm which finds a solution to an arbitrary system of such constraints: a generic string satisfying a system of substring equations. This provides a general tool for reconstructing a string from different kinds of repetitions or symmetries present in the string, in particular, from runs or from maximal palindromes. The recursive structure of our algorithm in some aspects resembles the suffix array construction by Kärkkäinen et al. (2006) [23].This is a full version of a paper presented at WADS 2015 [18].

On Repetition

Broadly speaking, performance theorists posit repetition in performance as always entailing difference, seeing no contradiction between the terms repetition, which seems to imply sameness, and difference. Rather, they consider repetition—both the repetition of entire events and structures of repetition within single events—to be fundamental to performance and simultaneously characterize repetition as a set of processes that inevitably modify the thing repeated. Defining the kind of repetition that is intrinsic to performance as a set of processes understood to generate difference through repetition of the same provides an account of how an event can be both a repetition and something new. But what about garden-variety repetition, repetition without difference? The desire for this is not alien, after all; we can easily imagine wanting to repeat pleasurable experiences, and the repeatability of performance seems to hold out the promise that this is possible. However, if repetition in performance inevitably entails difference, the experience of repetition without difference must be located on the spectators’ side of the event rather than the performers’ side. It resides in the way the audience engages with the performance rather than in the performance’s self-identity.

KISAH PEMBANGKANGAN IBLIS DALAM AL-QURAN

This paper aims to show the stylistics of devil’s disobedience story in Al-Quran . There are seven stories in seven chapters of al-Quran which talk over devil’s disobedience story. This stylistics of devil’s disobedience narratives is analysed by the observation of al-Quran stories within stylistics frame. There were four stylistics which the writer found in this paper. First, the stylistics of this story used four exposure techniques, they were a story began by climax scene, a story began with no preface, a story described by human imagination involve, and a story with insertion of religiousness advices. Second, presentation of story’s elements in this story served all of elements within a story, they were prominent figure, phenomenon, and dialogue. Third, there were three kinds of repetition happened in this story, they were a repetition of story line with the different character, a repetition of story with the different chronology, and a repetition of story with the different language style. Fourth, the art of story description in this story could arouse our mind and psychomotor. Keywords: Stylistics, Devil’s Disobedience Story, Seven Stories

Cultural History of Costume: Lace as Terra Incognita

This article considers the problem of original as “Terra Incognita” in the cultural history of costume. The starting point here is a special case in the studies of costume theory. It is the cultural matrix of the West European lace — an insufficiently explored question in the context of the problem of prototype and its repetitions. The cultural text, provided by research object, is analyzed from the standpoint of authenticity and continuity of deposits. The study is focused on appeal to the history of Belle Epoque. at that time, carefully reproduced renaissance forms and their numerous interpretations were put into active circulation. It is noted that the imitative works of that time can be represented on a conventional scale related to their level of independence. They are replications, interpretations with varying degrees of liberty, and fakes. along with the history of lace, there are studied various kinds of repetitions in other subject areas of costumology. The article identifies the conditions in which inauthentic things can have a certain cultural value, defines their role in the formation of “imitative” costume. The study concludes that special cases, considered from the culturological point of view, can not only extend the event-series of the history of costume, but also serve as the basis for constructing cultural text of the era.

Shattered Eden: Subjectivity and the fall out of Language in Henry James’s The Turn of the Screw

In Henry James’s fin-de-siècle tale The Turn of the Screw (1898) the nature of romantic love, language, and the human psyche are all subtly deconstructed by the author. The story’s central character—a governess—attempts to deal therapeutically with certain past unsettling incidents through her record of events at an English manor house. The account seems to hold close proximity with some original trauma she has undergone: throughout the tale the young woman continues to summon up the distressing experience by confronting it in an oblique manner and as a means of protecting herself against further psychological injury. Such recursion compels her to revisit the scene of the crime—whatever this “crime” is. In fact, the subsequent manuscript the governess produces documenting her experiences at Bly is demonstrative of just this kind of repetition as it moves through its circuitous manifestations first as primary document, and later as an account re-written and interpreted by various scribes. Assembled years after the related events, her narrative is a conscious attempt to recall what she is convinced “must-have-been.” Yet, as psychologist Julian Jaynes has pointed out, the nature of consciousness arises from the power of language to make metaphors and analogies and therefore cannot be relied on to copy experience exactly.1 The opening lines of the governess’s manuscript illustrate this succinctly when she states that: “I remember the whole beginning as a succession of flights and drops, a little see-saw of the right throbs and the wrong.”2 Jaynes terms this feature of consciousness “narratization” which is the analogic simulation of actual behavior. Consciousness, he explains, is “constantly fitting things into a story, putting a before and after around any event”: suppression, quite naturally, is part of such narrating in which we stop being conscious of disturbing thoughts and turn away from them in the physical world.3 The governess’s retelling of her experiences might be thought of as this kind of revisionist account of what actually happened at the isolated manor house: repetition becomes the locus of her repressed trauma—one to which she recurs in a way that continuously re-stages the event in psychic configurations. Largely unconscious, such activity takes on hallucinatory—and eventually supernatural—aspects that become more and more pervasive as the story unfolds. According to Freud (1914), such reenactments are necessary to resolve what is imperfectly remembered; disturbing material is repeated rather than reproduced as memory.4 James signals such a development for his governess in a scene early on in the novella in which she encounters her own full-length image in a mirror at Bly. Despite being confronted with her persona—or, in Lacanian formulations, her “proto-self”—the young woman’s retrospective manuscript reveals a clear absence of any self-reflection on the significance of the underlying dynamics of the experience, or what it might mean. Failure on the part of the governess to grasp the motive force behind her subsequent actions is in stark contrast to the influence of a past trauma that remains unconsciously operative and ultimately the mechanism behind her fragmented subjectivity.

Automatic Recognition of Repetitions in Stuttered Speech: Using End-Point Detection and Dynamic Time Warping

This study proposes a methodology for recognizing repetitions in stuttered speech. First, the recorded speech is parameterized by extracting six acoustic features, including volume, zero crossing rate, spectral entropy, high-order derivatives, VH curve, and VE curve. Second, the speech is segmented using the technique of end-point detection according (EPD) to the threshold of VH curve. Third, the features of the segmented speech are processed by dynamic time warping (DTW) to identify similar patterns in neighbouring segments. The proposed method was verified using the artificial stuttering samples of Mandarin Chinese. Ten male subjects were asked to imitate stuttering by speak out 39 predefined repetition settings. These settings are planned by considering three Mandarin Phonetic Symbols ([t], [k], [t‘]) and three kinds of repetitions (part-word repetition, whole-word repetition, multi-syllable word repetition). The experimental results indicate that EPD using VH curve is capable to slice the repetition in artificial stuttered speech. Comparing the results for recognizing the phoneme and single syllable words, there is no significant difference for the threshold of DTW. The performance of DTW in recognizing repetitions had high accuracy of 83%. Therefore, the proposed method combining EPD and DTW is feasible for automatic recognition of repetitions in stuttered speech. However, more real stuttered speech samples are still needed to verify and improve the proposed method.

Observation: Three reasons to avoid having half of the trials be congruent in a four-alternative forced-choice experiment on sequential modulation

Sequential modulation is the finding that the sizes of several selective-attention phenomena--namely, the Simon, flanker, and Stroop effects--are larger following congruent trials than following incongruent trials. In order to rule out relatively uninteresting explanations of sequential modulation that are based on a variety of stimulus- and response-repetition confounds, a four-alternative forced choice task must be used, such that all trials with any kind of repetition can be omitted from the analysis. When a four-alternative task is used, the question arises as to whether to have the proportions of congruent and incongruent trials be set by chance (and, therefore, be 25% congruent and 75% incongruent) or to raise the proportion of congruent trials to 50%, so that it matches the proportion of incongruent trials. In this observation, it is argued that raising the proportion of congruent trials to 50% should not be done. For theoretical, practical, and empirical reasons, having half of the trials be congruent in a four-alternative task aimed at providing unambiguous evidence of sequential modulation should be avoided.

Response to Catherine Madsen, “A Heart of Flesh: Beyond ‘Creative Liturgy’”

Response to Catherine Madsen, “A Heart of Flesh: Beyond ‘Creative Liturgy’” Leah Hochman In her critique of contemporary efforts to have a “liturgical experience” rather than to perform “a liturgical act,” Catherine Madsen argues that “liturgy shares with theater the need for aesthetic and psychological coherence.” One need not—and should not—mistake the intensity of feeling for authentic liturgical action; rather, a liturgy that can be sustained and can sustain one and/or others beyond a singular moment requires a relevance that can represent feeling and intentionality while maintaining an integrity of response and meaning. That integrity must include not only good writing but good sentiment and a refinement of spiritual intelligence. The silliness or fluff that can so often characterize “creative liturgy” is an inept substitute for the deeper, more emotional resonant liturgy of the more traditional sort. As she reminds us, “the leopards in Kafka’s parable break into the temple so dependably that they finally become part of the ritual, but there are kavvanot that will never be more than irritants no matter how often we hear them.” Her critique resonates on several levels even as I find myself wondering whether I agree with it. Perhaps my own response has to do with my current position at the Hebrew Union College‐Jewish Institute of Religion, where so many of my students engage in the sort of creative endeavor that Madsen finds tedious and unfulfilling. But the seminary students are—as I often like to remind them and myself—in a sort of “teaching hospital” where their attempts at writing, employing, testing new (and old) liturgy are sanctioned in the very kind of workshop experience with which Madsen opens her comments. Dropping stitches during tefilah at HUC is sanctioned if only because it is far better to do so in an environment of continual learning and constructive feedback than in the operating room of a solo congregation where one is the only operator. Not that I do not squirm uncomfortably when the experimentation veers too far off course for me or runs dangerously close to summer camp beit knesset antics. And yet the rabbinic students and their congregations know there is more to creative liturgy than simply the happenstance, “kindergarten” dilettantish sincerity that Madsen describes. While I cannot argue against the knowledge that some new prayers reverberate with a kind of cloying and artless parvenu‐ishness, it would be unfair to forget that the current, ongoing shift in liberal liturgical circles has opened prayerful avenues in complex, interesting, and multi‐sensory ways. Her opening gambit about repetition posits for me the question of whether her criticism of liturgical experimentation is an issue about simple repetition or a deeper query regarding what kind of repetition actually resonates with us. The maligned Mary Oliver poem aside, I find myself wondering, what are the differences between Oliver’s poetry and Kafka’s leopards? And who is “us”? What moves an academic participant in a Jewish liturgical moment may not be the same as what moves other actors and participants in Jewish prayer (that old joke about two Jews and three shuls comes immediately to mind), but it references the range of what could possibly force people to think beyond their own experience and reference points. How much must we know before we know whether liturgy moves us appropriately? Do we judge the sparseness of the biblical language the same way we value the flowering poetry of the Psalms that makes up the psukei d’zimra? Madsen is correct in suggesting that the majority of liberal congregants do not have the linguistic facility in Hebrew to open and access the glorious beauty of many of the prayers that make up the traditional liturgy. Why do we respond to it the way/s in which we do? It may be that if people did understand those most personal prayers made public sentiment—or when they do—the theological messages imbedded within the traditional liturgy would not speak to the ways in which individual Jews understand or appreciate the divine. Not all traditional liturgies make good liturgy; just because it is old does not mean it speaks to my “private loyalty” or my...

On the descriptive ineffability of expressive meaning

This paper addresses the question of whether there can be a unitary account of expressive meaning by considering the descriptive ineffability of expressives such as damn or bastard, on the one hand, and certain kinds of repetition, on the other. Drawing on my (2002) work on the semantics of discourse markers and Wharton's (2009) work on the pragmatics of non-verbal communication, I show, first, that the notion of procedural meaning can provide an explanation for the descriptive ineffability of expressives such as damn; and, second, that why linguistic expressives are similar to non-linguistic expressive behaviour such as gesture and tone of voice. Finally, I show that the descriptive ineffability of expressive meanings conveyed by repetition must be given a different sort of explanation. In particular, it follows from the hearer's assumption that the processing effort entailed by the repetition can be offset by weakly communicated cognitive effects – effects which the speaker trusts the hearer to derive for himself on the basis of his memory and imagination. The paper concludes by speculating on why these two different sorts of expressive meaning are not distinguished in work on free indirect style (cf. Banfield, 1982; Fludernik, 1993).

Escaping, forgetting and revisiting the scene: The post-traumatic compulsion to repeat in obsessive-compulsive disorder

There are levels at which our cognitive structures are not so well developed and especially when we rely on auxiliary figures (usually parents) to help us deal with what is taking place in and around us. It proposes that the sense that is made or not made of these events within the environment contributes to the development of dramatic versions of their meaning. The paper also addresses to some extent the role of internal fantasy around an event in providing a bridge between the event and the rumination and rituals that develop. The repetition is then an expression of what happens to this event at an internal level and the forestalled process of deep accommodation to it. The central point of this paper is as follows: One of the many ways is which obsessive-compulsive disorder can be considered is as a kind of repetition in thought and action of something that has been experienced with substantial disturbance at a time removed from the period in which ruminations and rituals come to take the kind of prominence they typically do in the lives of these patients.