Identification Of Poets Research Articles

Deep Learning Techniques for Identifying Poets in Arabic Poetry: A Focus on LSTM and Bi-LSTM

In this paper, we introduce a comprehensive approach to the classification of Arabic poetry using deep learning techniques. We utilized a dataset comprising nearly one million records of Arabic poetry verses, each labeled with nine different poets encompassing both classical and modern poetic styles. We explored various algorithms to identify the most effective models for accurately determining the poet's identity from the verses. Based on our analysis, we selected LSTM (Long Short-Term Memory) and Bi-LSTM (Bidirectional LSTM) as our primary baseline models, given the demonstrated efficacy of RNN (Recurrent Neural Network) variants in text classification. LSTM, in particular, has shown significant proficiency in analyzing sequential data across multiple languages. Our results indicate a promising average classification accuracy of 92.35%, highlighting the potential for automating the classification of texts in morphologically complex languages such as Arabic. Notably, Bi-LSTM marginally outperformed the standard LSTM, achieving average accuracy of 92.56%. We further discuss the implications of our findings for Arabic literature, particularly in the realm of poetry, and address the challenges encountered during the study. These findings represent a significant advancement in Arabic NLP, offering a powerful framework for poet identification and paving the way for future applications of deep learning in processing Arabic literary texts.

Mehmet Akif Ersoy’un Orta Asya Türk Dünyası İle İlgili Müşahedeleri

In his poems, Mehmet Akif Ersoy expresses the troubles and sufferings of the Central Asian, Caucasian and Balkan nations that were left unclaimed during the collapse of the Ottoman Empire. In this study, the issue of Central Asia and its problems in Ersoy's works will be discussed. The research draws attention to the backwardness, poverty and suffering of the local people of the Turkish world. Akif takes his place among the most important poets of Turkish Literature with his originality of the world of thought and his strong style in the language of poetry. The unique features of the poet's poems played an important role in Akif's special place among many poets of his time. The world view shaped around these values in Akif's works of understanding of Turkishness and Islam attracted attention not only in Anatolia but also in other places. Akif clearly describes some of the negative situations experienced by the geography of the Turkish World in his works. By drawing attention to the problems of the society in which he lives, he investigates how the problems arise and looks for ways to solve them. Akif also attaches special importance to the Turkish world living in the geography of the Islamic world. The poet, who describes the difficulties and poverty in the Turkish world in his works, tells the general situation in the Turkish world. In his work, Süleymaniye Chair, Abdürreşid İbrahim sheds light on the important issues of the region with his own words. The information about Central Asia in the poet's works reflects the understanding of national unity and integrity. Akif's influences in the Turkish World increased with Sırat-ı Müstakim, and it was effective in his transformation into a man of action. In this article, the characteristics of Akif, which are considered remarkable by the poets of the Turkish World, are discussed. In the examination, in which the interest shown by some Turkish World Poets to Akif's poems and personality is reflected in comparative texts, the identification of poets who had direct contact with Akif or who carried his influence into their poems, and the context in which they were affected, were evaluated considering the social and political conditions of the period. This study was carried out in order to determine the themes such as the problems of the Central Asian Turkish World, independence, awakening, underdevelopment and poverty in the works of Mehmet Akif Ersoy. In order to achieve this aim, qualitative research and comparison method was used in this study. In order to collect data in the research, the document analysis method from the qualitative research motifs was used. The data obtained are also given within the framework of the work “Safahat”. Key Words: Mehmet Akif Ersoy, Türk World, Safahat, Suleymaniye Kursusunde, Sırat-ı Müstakim.

PENYAIR-PENYAIR MALUKU UTARA

A poetis is an author of poetry, rhymes, and prose. The world of literature has developed along with the development of life in Indonesia. The large number of residents has led to the development of various events which is in turn the poets known by theirtrack records of prose and poetry. Of course, this existence is a good news for Indonesia in which it is rich in literature lovers. Then, by its love of literature a refined and noble character will grow. Behind of that, the growth of literary lovers is accompanied by the growth of writers that are poets, essays, short stories, poetry that showed contributing to the world of Indonesian literatures. Not a few good literary works that obey received positive appreciation by the government, which later emerged as regional writers because of their works. Nowadays, in North Maluku, many literature writers appear with their literary works. Therefore, poets must be known by the general public and education world. This study discusses about identification of poets originated from North Maluku region by conducting a qualitative descriptive research method to process data using the words instead of numbers and applying analytical tools, namely an expressive approach to see the biography of poets.

PENYAIR-PENYAIR MALUKU UTARA

A poetis is an author of poetry, rhymes, and prose. The world of literature has developed along with the development of life in Indonesia. The large number of residents has led to the development of various events which is in turn the poets known by theirtrack records of prose and poetry. Of course, this existence is a good news for Indonesia in which it is rich in literature lovers. Then, by its love of literature a refined and noble character will grow. Behind of that, the growth of literary lovers is accompanied by the growth of writers that are poets, essays, short stories, poetry that showed contributing to the world of Indonesian literatures. Not a few good literary works that obey received positive appreciation by the government, which later emerged as regional writers because of their works. Nowadays, in North Maluku, many literature writers appear with their literary works. Therefore, poets must be known by the general public and education world. This study discusses about identification of poets originated from North Maluku region by conducting a qualitative descriptive research method to process data using the words instead of numbers and applying analytical tools, namely an expressive approach to see the biography of poets.

Recurrent convolutional neural networks for poet identification

Abstract Deep neural networks have been widely used in various language processing tasks. Recurrent neural networks (RNNs) and convolutional neural networks (CNN) are two common types of neural networks that have a successful history in capturing temporal and spatial features of texts. By using RNN, we can encode input text to a lower space of semantic features while considering the sequential behavior of words. By using CNN, we can transfer the representation of input text to a flat structure to be used for classifying text. In this article, we proposed a novel recurrent CNN model to capture not only the temporal but also the spatial features of the input poem/verse to be used for poet identification. Considering the shortcomings of the normal RNNs, we try both long short-term memory and gated recurrent unit units in the proposed architecture and apply them to the poet identification task. There are a large number of poems in the history of literature whose poets are unknown. Considering the importance of the task in the information processing field, a great variety of methods from traditional learning models, such as support vector machine and logistic regression, to deep neural network models, such as CNN, have been proposed to address this problem. Our experiments show that the proposed model significantly outperforms the state-of-the-art models for poet identification by receiving either a poem or a single verse as input. In comparison to the state-of-the-art CNN model, we achieved 9% and 4% improvements in f-measure for poem- and verse-based tasks, respectively.

Identification of Urdu Ghazal Poets using SVM

Urdu literature has a rich tradition of poetry, with many forms, one of which is Ghazal. Urdu poetry structures are mainly of Arabic origin. It has complex and different sentence structure compared to our daily language which makes it hard to classify. Our research is focused on the identification of poets if given with ghazals as input. Previously, no one has done this type of work. Two main factors which help categorize and classify a given text are the contents and writing style. Urdu poets like Mirza Ghalib, Mir Taqi Mir, Iqbal and many others have a different writing style and the topic of interest. Our model caters these two factors, classify ghazals using different classification models such as SVM (Support Vector Machines), Decision Tree, Random forest, Naïve Bayes and KNN (K-Nearest Neighbors). Furthermore, we have also applied feature selection techniques like chi square model and L1 based feature selection. For experimentation, we have prepared a dataset of about 4000 Ghazals. We have also compared the accuracy of different classifiers and concluded the best results for the collected dataset of Ghazals.

The Design and Typography ofLeaves of Grass(1860)

Walt Whitman's experience as a printer was important to his writing, and it also led him to take an active role in the design of Leaves of Grass. Whitman's use of many different decorative types for titling and numbering of poems, while derived from common practices in commercial typography of the time, was uncommon in book work and conveys the poet's identification with the working man and his deep concern for the structure of his book. Barbara Henry's bibliographic and typographic analysis of the 1860 edition looks at Whitman's design choices in the context of nineteenth-century printing technology.

Charmides and The Sphinx : Wilde's Engagement with Keats

From the Renaissance to the nineteenth century was primary object of myth-makers' attentions, its history as well as its mythology fodder for the imagination: ligature exemplified by Oscar Wilde's Theatre at Argos (1877), sonnet written in situ, Where once the Chorus danced to measures fleet; / Far to the East purple stretch of sea, / The cliffs of gold that prisoned (ll. 5-7). (1) The mythical Danae is given ontological status equal to that of the historical poet and chorus who would have enacted her story in the theater, thus acknowledging that Greek history, like Greek myth, survives now as an aspect of the individual imagination. But throughout the nineteenth century, as archaeology relocated Greece in the stones and soil of small Levantine peninsula, pushing it back into its chronological container, its potency as fictive realm was inevitably diminished. This essay examines the confusion of the old mythical and the new archaeologically determined in Wilde's long poem Charmides (first published in Poems [London, 1881]), attributing it in part to Wilde's imitation of older models no longer tenable in the changing climate of classical scholarship: in this instance, Keats's Endymion and Lamia. I conclude by reading The Sphinx (published London, 1894, perhaps begun 1874) as reworking of Ode on Grecian Urn, an advance on Charmides in that it maintains dialectical and critical relationship with its host text rather than purely imitative one. I begin by summarizing two recent critical accounts of Keats's Hellenism, those of Martin Aske and Helen Vendler, since they both chart movements that have repercussions in Wilde's work. Moreover, since my reading of Charmides depends on Wilde's appropriation of Keats's treatment of topography and chronology in Endymion and Lamia, I will consider these poems in detail. In Keats and Hellenism, Aske proposes that antiquity offers for Keats reservoir of validatory fictions, fictions which, because of Keats's ignorance of Greek, are refracted through the poetic voices of Spenser, Chapman, Milton, and Shakespeare. (2) Antiquity itself is an absence or lack, around the edges of which the English literary tradition clusters (p. 4). Keats stood on the poets' side of the rift that began to widen at the beginning of the nineteenth century between classical scholarship and Hellenist-inspired art: Classical does not present itself [to Keats] as language to be mastered, or text to be edited, but as supreme fiction, an ideal space that might yield host of fine poetic imaginings (Aske, p. 35). But Keats's anxiety at his belatedness in the English poetic tradition and at the unrecoverability of the classical world (an unrecoverability made overt to him and personally magnified by his ignorance of Greek) mean that his Hellenist works are creative expressions of failure. Borrowing term from Derrida, Aske submits that Endymion in particular, with its narrative incoherence and apparent linguistic incontinence, should be seen as parergon, literally by-work, here meaning an ornamental appendage detached from notional primary structure, like parasite without its host. Endymion, in this reading, is an arabesque drawn over the blank space left by the loss of antiquity, while the fragmentary Hyperion represents the failure to put together whole out of the scattered remnants of the classical tradition (pp. 5-6). Helen Vendler, by contrast, offers reading of the Ode on Grecian Urn that emphasizes the increasing confidence of Keats's encounter with antiquity: the poet, confronted by silent artwork, passes from archaeological interrogation (What men or gods are these?, l. 8) through assimilation (the poet's identification with the young lover in the second and third stanzas) to a generous loss of self in the other. (3) The final scene described on the urn, the procession and sacrifice, represents religious sensibility for which there is no modern equivalent. …

Jack and Other New Poems (review)

Reviewed by: Jack and Other New Poems Elaine Sexton (bio) Maxine Kumin, Jack and Other New Poems, W. W. Norton At a time when contemporary poetry rewards linguistic pyrotechnics and the disjunctive, the heft and heart of lyric poetry like this, with its muscular lines, air-born and earth-bound, serves up a startling refreshment. In Maxine Kumin's fifteenth collection we find a bracing mix of persona poems, elegies, and lyric narratives, the stuff of biting paradox and stark self-appraisal. Rarely has the pastoral read like anything but. At age seventy-nine, Kumin, hiking the old growth woods of her New Hampshire farm engages the rigor of her body and her mettle which continue to be inextricably bound up with that of her poems. It is all there in the work, the daunting pleasures, the vigorous drive, and now, the lucidity and the lament of the limitations that comes with aging and proximity to death and near-death. Kumin started publishing her poetry when the Help Wanted ads in the New York Times were still separated by gender, when the poetry world was resolutely dominated by men, and only a handful of nationally recognized poets were women. She carved a place in the canon with the steady voice and steely grace that landed a Pulitzer Prize in 1973, and continues to fuel her distinctive and enduring presence in American poetry. In Jack and Other New Poems Kumin tackles the big subjects: mortality, the body, family, community, her literary legacy. Though the poems about loss and death outnumber the others, one poem "Ode," written in nine neat tercets, strikes a chord that might be a page of Kumin's life-long play book for its attention to the body, feminism, and grit: Upside down and backward windmilling through sometimes satin sometimes sullen murk, sun a tatted doily intercut by overhanging pines and hemlock, gliding not too close to either shore, water flowing in and out of me [End Page 175] as I scoop deep behind me, stroke scoop and fling hands' – sprayfuls straight-armed again and again I salute you Eleanor, who outswam them all back- stroking left right somersault touch push off, churning the Olympic gold in 1932 This "Ode" goes on to "raise a glass to" Eleanor Holmes, kicked off the team for drinking champagne and shooting craps with Helen Hayes aboard the cruise ship SS Manhattan. The language of the body and the water "flowing /in and out of me" in this poem echoes an earlier Kumin masterwork, "Morning Swim," and casts this champion swimmer against the tide of the times she lived in. One can't help but consider the poet's identification with the swimmer she salutes in this poem. Kumin embraces the world we live in now, in poem after poem, as she examines death. In "Summer Meditation," the speaker wants "to sing / of death unbruised. / Its smoothening. / I want to prepare / for death's arrival / in my life." The deaths of horses, a dog, a sack of kittens, intermingle with that of a friend, her father, her brothers, and the contemplation of her own. Kumin slips back and forth between the human and the animal, in what the poet and critic Emily Grosholz calls "a poetry of metamorphosis." In her essay, one from a collection Grosholz edited: Telling the Barn Swallow: Poets on the Poetry of Maxine Kumin (University Press of New England, 1997), Grosholz argues that "with the studied uncanniness of Ovid, she allows them to combine, body and soul." That said, Kumin examines, with great compassion, how animals meet death, and how we, their partners with language understand it. In "Which One," the relentless narrator saves her steely side for the human species when she asks, "which one of you discarded in a bag – sealed with duct tape – in the middle of the road / three puppies four or five weeks old . . ." Kumin, the poet, humanist, lifelong animal activist ends with a jolting indictment: "I look for you wherever I go." In this collection, every poem is a portrait of the poet's fierce hold on life. For an agnostic approaching eighty, perhaps the poem itself is as an act of...

Neural network identification of poets using letter sequences

Stylish differences among poets are usually sought in sound and semantics. In human analysis, the criteria for recognizing stylistic differences are manifold and intermingled. This study demonstrates that successful identification of poets based on their work is possible using one criterion: letter sequences. Poets show preferences for certain letter combinations, which are unique to their writing style. Using this criterion in machine computation demonstrates that semantics are not needed to identify poets correctly, and that, as a concession to utter parsimony, one minimal criterion of unique letter sequences is enough to fingerprint an author. A small sample of the work of three Dutch poets was used: Bloem (1887-1966), Slauerhoff (1898-1936), and Lucebert (1924-94). This sample formed the training set for the neural network program to analyse the unique letter patterns for each poet. Next, the program was fed a set of new poems, for which the author was to be identified. In choosing between two poets, the program succeeded in identifying the poet correctly for 80-90% of the new poems. When the choice was between three poets, the score was ∼70% correct. Since raw ASCII files are sufficient as input, and human pre-coding is unnecessary, neural network analysis of letter sequences may turn out to be a powerful tool in categorization and identification problems, such as genre, stylistics, and plagiarism.

"Unknown Causes": Poetic Effects

The beginning of poetic activity is described here, in the general movement of the passage, as an exchange between the loss of the mother and the gain of nature, or a loss of the literal mother and her return in figurative form in nature. But the passage leaves open a deal of uncertainty in this beginning: if the known of the mind's new openness is the beholding of a dear nature, this cause follows upon unknown connected with the original removal of the props. The smooth passage between mind and nature, or the movement from literal to figurative meaning, depends on the passage between the unknown and the single cause, a passage which we do not fully understand. This uncertainty, or the space between the causes and the cause, raises the possibility that the poetic reflection on beginnings may not involve, simply, the knowing of an absence, but perhaps also a kind of not knowing as well; that the beginning of consciousness, in a death, may not itself be entirely assimilable to consciousness. The question of beginnings arises again in a later part of The Prelude, when Wordsworth tells of his encounter with the French Revolution. The young poet's identification with the good Cause of the Revolution marks another kind of beginning, a projection of the mind into a future, or a temporal movement, involved in what Wordsworth calls the of mankind. A number of critics have suggested that Wordsworth explores the nature of this revolutionary love in the love story of Vaudracour and Julia told at the end of Book

Teaching Haiku Poetry in the Humanities Classroom

As part of an experimental course in the humanities at the General College (University of Minnesota), I assigned a unit on haiku poetry so that students could learn the basic principles of the haiku poem and at the same time explore some of the ways people of another cul ture have formed a sense of community with nature. In order to supplement the reading assignment and my lec ture on the background and characteristics of haiku poetry, I planned a haiku workshop that would enable students to discover first-hand the subtleties of the haiku form and also to experience for themselves the haiku poet's identifi cation with nature. In order to prepare students for this workshop I presented additional poetic materials, includ ing poems by William Carlos Williams and haiku I had written myself. An integral part of the workshop was a film, The Persistent Seed, which the students viewed prior to their initial attempts at writing haiku. The film was in strumental in helping students write haiku poetry because its basic structure?the combination of specific and con crete images?provided source material similar to that ob tained through the poet's direct observation of nature. Thus, when students viewed The Persistent Seed in the workshop, they were able to recognize and record a list of significant images from the film and then use these images to undertake the difficult?and often intimidating ?task of writing poetry. The workshop was a culmination of several class periods and a wide range of instructional methods: assigning readings from a text, giving a brief lecture on the background and structure of the haiku form, making comparisons between examples of modern poetry and haiku, examing contemporary haiku written in English, showing a film to the class, and letting students share the

More on Hazlitt and the Functions of the Imagination

William Hazlitt's ideas about the imagination have received widespread critical attention, but that attention has been confined almost entirely to his comments on the “sympathetic imagination.” In his opening sentence J. D. O'Hara (“Hazlitt and the Functions of the Imagination,” PMLA, LXXXI, December 1966, 552–562) intends, I think, to use the term “sympathetic imagination” in a broad sense—broader than in his second paragraph, where, in order to disclose “the limitations of sympathy in the creation of art,” Mr. O'Hara seems to confine “sympathy” to the poet's identification with character. He proceeds, then, to designate “associational theory” rather than “sympathy” as grounds for Hazlitt's objection to egotistical poetry—like Wordsworth's—and to describe this objection as “basically not aesthetic but moral” (p. 553). Mr. O'Hara has written a closely reasoned and useful article; but when, later in the article, he describes the “formative imagination” (p. 561), he again separates elements in Hazlitt's aesthetic which, I think, are not as readily separable as he implies.