Imitation Of Style Research Articles

The Problem of Subjectivity in Algorithmic Creativity Organisation

The aim of the article is to study the issue of determining subjectivity, authorship and uniqueness of the results of producing the creative process, organised by the use of algorithmic calculations. Results. The article clarifies the possibility of organising the artistic and creative process using mathematical calculations, and automating the reproduction of certain manipulations, additionally, it reveals signs of the uniqueness of the corresponding generation results, and grounds the degree of automating the cultural process. The scientific novelty of the article is revealed in the process of highlighting technical assets of modern art, which, although slowly, nevertheless quite demonstratively show the potential of algorithmic computing as a stimulator of creative innovations. Among the methods used in the process of analysing the issues which are raised in the article, first of all, the analytical method has to be singled out, that is based on both historical and philosophical processes, as well as modern cultural activity. Conclusions. It is revealed that algorithmic creativity is actually a kind of mechanised production process, organised in accordance with the features of machine training, and the identified signs of stylistic imitation of traditional practices. Two types of practices for organising the corresponding creative process are established according to the degree of interaction of artists with robotic systems: practices where robotic mechanisms become “subjects of creativity”, that is they are able to produce content for organizing artistic processes; practices involving the equal interaction of robotic mechanisms and artists (for instance, in theatrical performances). The cultural process automation leads to the decrease in the artist’s participation, and weakening of his authorship, but he still has an absolute advantage in the thinking orientation. Interpretation of meaningful content is a critical problem in relevant practices. The usage of algorithms in creating art products challenges traditional methods of artistic cultural creation, as the artist’s meaning and intentions are not always clear. Evaluating further prospects for the artistic culture development requires taking into account these aspects, and recognising potential consequences of forming algorithmic creativity for the further cultural development of humanity.

Catch the references if you can: Marc Shaiman and stylistic pastiche

This article explores Marc Shaiman’s use of stylistic pastiche in Catch Me If You Can. Building on previous studies of style imitation in musical theatre, I develop a model for analysing different forms of pastiche. This model categorizes instances of pastiche according to the specificity of the stylistic reference, the function of the pastiche and how the pastiche is integrated into the song. Each component of the model is illuminated through a selection of examples. In Catch Me If You Can, I argue that Shaiman tends to use intra-opus (song) references in order to enhance the lyrical and narrative content, while his broader style references tend to be used for setting and reinforcing aspects of time and place. I conclude with the suggestion that this model could be deployed on other musicals. This will lead to a better understanding of how Shaiman’s practices align or deviate from other composers who engage with this widespread technique.

“To What Song Does the Vein of Poetry’s Lute Throb?” The Hypotactic Poetics of Bīdil’s Persian ghazals in Sanskrit-Hindi-Arabic Meters

Abstract How, despite the non-specificity of the ghazal’s semantics, can its rhythms contribute to intellectual history? This essay proposes an answer to this question with reference to sixty of the almost three thousand Persian ghazals composed by ʿAbd al-Qādir “Bīdil” (1644–1720) of Delhi. These sixty are distinguished by the fact that their meters are rare or unprecedented in Persian but common in either Arabic or Sanskrit-Hindi or both. Building on the rare aural commonalities between these sixty Persian ghazals and Arabic and Sanskritic poetry in corresponding rhythms, this essay argues that Bīdil used them to multiply and complicate relations between the ghazal’s speakers and its addressees by amplifying hypotaxis; and to subsume the devotional mood of prosodically identical but paratactically simple Hindi hymns to a monist imagination. It concludes by suggesting that his Sanskrit-Hindi-enabled hypotaxis and rhythms in Persian were stylistic imitations of God’s hierarchized self-disclosures.

I still know it's you! On Challenges in Anonymizing Source Code

The source code of a program not only defines its semantics but also contains subtle clues that can identify its author. Several studies have shown that these clues can be automatically extracted using machine learning and allow for determining a program's author among hundreds of programmers. This attribution poses a significant threat to developers of anti-censorship and privacy-enhancing technologies, as they become identifiable and may be prosecuted. An ideal protection from this threat would be the anonymization of source code. However, neither theoretical nor practical principles of such an anonymization have been explored so far. In this paper, we tackle this problem and develop a framework for reasoning about code anonymization. We prove that the task of generating a 𝑘-anonymous program—a program that cannot be attributed to one of 𝑘 authors—is not computable in the general case. As a remedy, we introduce a relaxed concept called 𝑘-uncertainty, which enables us to measure the protection of developers. Based on this concept, we empirically study candidate techniques for anonymization, such as code normalization, coding style imitation, and code obfuscation. We find that none of the techniques provides sufficient protection when the attacker is aware of the anonymization. While we observe a notable reduction in attribution performance on real-world code, a reliable protection is not achieved for all developers. We conclude that code anonymization is a hard problem that requires further attention from the research community.

Hamlet/idézetek és -parafrázisok az Ulysses-fordításokban

In this paper, the author sets to analyse parts of James Joyce’s Ulysses from the perspective of translation studies, in the light of intertextualities that can be paralleled with Shakespeare’s Hamlet. In addition to the systematization of quotations and paraphrases of Shakespeare’s work identified in Ulysses, the author analyses passages that highlight an intertextual relationship between Ulysses and Hamlet. This observation occurs at different linguistic levels of the Hungarian language. For a scholarly approach to the practice of translation, the author recommends including translations from Shakespeare (Hamlet) in the discourse, highlighting the questions of translation and (re)translatability associated with it. The author’s curiosity lies in the linguistic, literary, and stylistic differences and equivalences between the source text and the target text. Keywords: retranslation, intertextual figures, cultural transfer, retranslation hypothesis, canon, stylistic imitation.

Диккенсовский «Сверчок за очагом»: о стилизациях, подражаниях, экранизациях

The article considers different imitative approaches to Charles Dickens’ novella “The Cricket on the Hearth” (1845). Our focus is on two groups of adaptations of Dickens’ work: (1) the “plot (non-stylistic) adaptations” and (2) imitations with elements of stylization. Adaptations appear as re-readings of the novella, which undergo literary simplification (cf. digest). Among such, we consider creative rehashings (including those for children) and scripts, which might be fleshed out with the help of theatrical and cinematic art. A separate group consists of stylistic imitations with occasional allusions to Dickensian narrative; however, they do not closely follow original storylines. The article pays attention to opinions expressed by Stanislavsky and Eisenstein regarding Cricket’s adjustment to the medium of theater and film. It also discusses some specifics of the Dickensian metaphor reflected in stylistic imitations and disregarded by non-stylistic adaptations.

A Survey on ML4VIS: Applying Machine Learning Advances to Data Visualization.

Inspired by the great success of machine learning (ML), researchers have applied ML techniques to visualizations to achieve a better design, development, and evaluation of visualizations. This branch of studies, known as ML4VIS, is gaining increasing research attention in recent years. To successfully adapt ML techniques for visualizations, a structured understanding of the integration of ML4VIS is needed. In this article, we systematically survey 88 ML4VIS studies, aiming to answer two motivating questions: "what visualization processes can be assisted by ML?" and "how ML techniques can be used to solve visualization problems? "This survey reveals seven main processes where the employment of ML techniques can benefit visualizations: Data Processing4VIS, Data-VIS Mapping, Insight Communication, Style Imitation, VIS Interaction, VIS Reading, and User Profiling. The seven processes are related to existing visualization theoretical models in an ML4VIS pipeline, aiming to illuminate the role of ML-assisted visualization in general visualizations. Meanwhile, the seven processes are mapped into main learning tasks in ML to align the capabilities of ML with the needs in visualization. Current practices and future opportunities of ML4VIS are discussed in the context of the ML4VIS pipeline and the ML-VIS mapping. While more studies are still needed in the area of ML4VIS, we hope this article can provide a stepping-stone for future exploration. A web-based interactive browser of this survey is available at https://ml4vis.github.io.

National Ballad Creation Education Under Artificial Intelligence and Big Data.

The efficiency of manual ballad creation is low, and the status quo of music creation education still needs to be improved. Therefore, how to upgrade the creative level of students is studied to improve the creative ability of China’s unique ballad culture. The concept of music theory in the process of music creation is explained, and the application of big data in the NetEase cloud music platform is excavated. Besides, the optical music organization (OMR) method based on artificial intelligence (AI) is proposed using a learning method of style imitation. This method is applied to students’ ballad creation education and tested in the school creation curriculum. It is found that the novelty of the ballads created by the system is slightly better than the existing ballads by comparing the ballads created by the machine with those used as imitation templates. In addition, the students’ learning interests and creative achievement are compared through the comparative experiment. The results show that students’ interest in learning has been significantly improved, and their creative performance in oral language has also been enhanced compared with the control class. As a result, this system is considered to be able to be applied in students’ ballad creation courses and provide some basis for AI creation in related fields.

Dittmar’s Turkish Ornamental Cabinet

One of the most formative narratives of the reform movements around 1900 was a departure from earlier creative principles of imitation, now defamed as an inadequate approach. Thus, artists, architects, and designers were called upon to formulate freer approaches to artistic design. Precisely because this narrative of the new and the free, which had become a myth, excluded art of the later nineteenth century—which supposedly only imitated older styles—little attention was paid to how exactly the ornamentation of Islamic art was taken up and artistically exploited in the decorative arts around 1900. Yet, what else can be classified as stylistic imitation and what as freer abstraction? After all, the geometric derivation of Islamic ornamentation offered rich material for abstractions in the sense intended by the reform movements, before it was radically, and very lastingly, banned from the discourse a short time later along with all other ornament. It will be shown that the abstraction of Islamic ornamentation around 1900 was not only triggered by the objects that were increasingly accessible in exhibitions and as holdings of ethnological or applied arts museums at the turn of the century but was already influenced by scientific research and by the textbooks with historical models as they appeared in the course of the nineteenth century.

Tezaurul de denari romani descoperit la Pârscov, județul Buzău/ The hoard of Roman denarii discovered at Pârscov, Buzău County

The authors present a coin hoard consisting of 62 Roman Republican denarii and a good style imitation of a denarius, which was recently discovered in the village of Pârscov, Buzău County, in the place called Gorgane‑Observator. The place of discovery is located in the neighbourhoods of the Geto‑Dacian sites from Târcov – Piatra cu Lilieci, Cârlomănești and Pietroasele – Gruiu Dării. The appearance of the coins, in different stages of wear and with numerous incised control‑marks, probably due to the activity of nummularii, indicates a “circulation coin hoard” that reached the north of the Danube in a pre‑constituted form. The denarii fall chronologically between 179– 170 and 19 BC, the imitation having as prototype the denarius of P. Clodius from 42 BC. The core of the hoard consists of three compact groups totalling 51 denarii, each in almost uninterrupted chronological succession, attesting to the intervals 118– 105, 91– 68 and 58– 40 BC. The best documented is the period of Caesar’s ascension, wars and dictatorship, until after the establishment of the 2nd triumvirate, the coins of the 50‑41 decade representing over 25% of the total. The deposit ends with Octavian issues, the last two denarii bearing the title CAESAR AVGVSTVS. It is the first hoard from the time of Augustus discovered on the territory of Buzău County, having as main analogies in terms of chronology and structure the hoards from Valea (Strâmba), Dâmbovița County and Sfântu Gheorghe, Covasna counties. The circumstances of the concealment of the coin hoard are integrated into the context generated by a series of events related by written sources, which took place between about 17/ 16 BC– 10/ 12 AD, which culminated in the relocation of an entire Getic population from north of the Danube, archaeologically confirmed by the cessation of habitation in the great davae and settlements of Wallachia.

VYPIS’ ABOUT THE SECOND MARRIAGE OF VASILIY THE THIRD: A DOCUMENT OR A LITERARY STYLE IMITATION?

The article examines a landmark text of Old Russian literature entitled Vypis’. The author of Vypis’ declares it an extract from a genuine message that was sent to Moscow by the monks of Mount Athos. In reality, the text is in no way an extract, and the message from which it is supposedly taken has never existed. Vypis’ is a convoluted story about the decision of the Grand Duke Vasiliy the Third to divorce his first wife and take a new one. Several bold representatives among the Russian clergy, Eastern patriarchs and Athonite monks — all of them considered the prince’s intention to be a violation of church canons. Vypis’ is filled with factual errors; thus, it is devoid of value as a historical document, but is of interest as a literary phenomenon. The literary sources of Vypis’, its influence on other literary pieces, its unusual language with a large number of agrammatisms and strange barbarisms are analyzed in the article. The text is compared with the first style imitation experiments which were conducted in course of discussions on the Russian-Turkish relations. By the complex of its features, Vypis’ can be dated the last decades of the 16th century. It can be defined as a failed attempt to create a literary style imitation. The author believes Vypis’ was composed in Chudov Monastery or by one of Orthodox church defenders in Lithuania.

Types and Functions of Repetition in the Works of Howard Phillips Lovecraft

Introduction. Issues of the author’s writing style, means and methods of constructing an individual author’s artistic picture of the world have always been in the focus of attention of researchers. The object of this paper is H. P. Lovecraft’s stories, which are part of horror literature. The subject of the paper is repetition, which plays a special role in a literary text as a means of artistic expression. Conducting research is relevant for several reasons, like interest in the consideration of the functional aspects of the literary text as a whole, or to H. P. Lovecraft’s works in particular, as the horror genre of literature is one of the most popular in modern society. The purpose of this study is to identify the most productive types of repetitions and their pragmatic functions in the H. P. Lovecraft’s stories.Methodology and sources. General methods of this research are functional analysis of repetitions, supplemented by the quantitative method. Repetitions used in the stories are separated and analyzed based on their following functions: pragmatic focus, emotivity and rhythmization. The material of the study was the following works of the author: “Dagon”, “Beyond the Wall of Sleep’”, “The Music of Erich Zann”, “The Other Gods”, “The Hound”, “The Rats in the Walls”, “The Call of Cthulhu”, “The Descendant”, “The Dunwich Horror”.Results and discussion. Repetition is a significant element of H.P. Lovecraft’s writing style. In the analyzed works, repetitions are presented in various types: simple verbatim repetitions (contact and remote), anadiplosis, epanalepsis, synonymous, syntactic (lexical and syntactic parallelism). Lexico-semantic analysis of repetitions showed that the most frequent units in H.P. Lovecraft’s stories are such lexemes as “old” (125), “night” (95), “great” (85), “strange” (62), “gods” (48), “horror” (48). Their use can be attributed to the author’s desire to create a sense of "cosmic fear", to highlight the themes of ancient and hidden evil with “divine” forces. Functional analysis has shown that repetitions are most often used to highlight the most important elements of the text (pragmatic focus), convey the emotional states of the characters, create an appropriate emotional atmosphere (horror, fear), as well as rhythmic organization and stylistic imitation of religious discourse.Conclusion. Repetition as a stylistic figure is an important technique of pragmatic focusing and a significant element of the H.P. Lovecraft’s writing style, emerging in various structural variations and performing many functions.

Portraying Cicero in Literature, Culture, and Politics, from Ancient to Modern Times ed. by Francesca Romana Berno and Giuseppe La Bua

Reviewed by: Portraying Cicero in Literature, Culture, and Politics, from Ancient to Modern Times ed. by Francesca Romana Berno and Giuseppe La Bua James E. G. Zetzel Portraying Cicero in Literature, Culture, and Politics, from Ancient to Modern Times. Edited by Francesca Romana Berno and Giuseppe La Bua. Berlin: De Gruyter. 2022. Pp. xxi, 486. Collective volumes based on conferences tend to unevenness, and this one, from a 2019 conference on the portrayal and reception of Cicero, is no exception. Informative and enjoyable lectures do not easily become substantive articles, and the theme of this volume is so broad that there is little coherence. The variety of portrayals is interesting but fragmented: medieval manuscript portraits of Cicero have little to do with his image in modern detective fiction, and discussions of stylistic imitation are a long way from the use of Cicero as a role model by John Adams or Robespierre. Several of the papers, moreover, are essentially anecdotal, simply providing illustrations of some aspect of Ciceronian reception without any real argument to connect them. That is true of Rita Degl'Innocenti Pierini on representations of Cicero's exile, of Giuseppe La Bua on the meanings of nobilitas, and of Andrew Sillett's random collection of apparent echoes of the opening phrase of In Catilinam 1. Kathryn Stutz's paper on Cicero in detective fiction is largely an annotated list, and her odd reference to "our modern valorization of truth and virtue in our legal heroes" (226) suggests a lack of awareness of the tradition of California noir (from Hammett to Chandler to Ross Macdonald) to which Steven Saylor's Roman Blood (which Stutz discusses) so clearly belongs. The discussion of Cicero's textual "voice" by Leanne Jansen, Christoph Pieper, and Bram van der Velden contains a useful treatment of the differences between imitations of Cicero in Latin pseudo-Ciceroniana and in Cassius Dio's Greek versions of Ciceronian speeches, but the technique of imitation that they make much of is nothing more than the age-old method of learning stylistics through prose composition. But even if the volume is rather less than the sum of its parts, many of the papers contain something worthwhile, and a few of them provide rather more than that. The volume opens with Robert Kaster's clear and precise comparison between Cicero's language while in exile about his departure from Rome and his later accounts of the same events. Alfredo Casamento uses a passage of the Brutus to examine the role of the audience in shaping the ideal orator, and Alejandro Díaz Fernández usefully compares Cicero's self-portrait as ideal governor in letters from Cilicia to his earlier advice to Quintus as governor of Asia and to his images of Scaevola Pontifex as ideal governor. Díaz Fernández ultimately shies away from saying that Cicero actually tried to embody his ideal of good provincial governance and instead settles for the tired concept of self-fashioning, but while Cicero indeed wanted to appear a good governor, he was even more concerned to be one. Among the papers dealing with later aspects of Cicero's reception, Thomas Keeline offers an intelligent and engaging analysis of a set of late antique epitaphs for Cicero found in the Symposium XII Sapientum in the Anthologia Latina. Fabio Gatti provides [End Page 381] a careful presentation of the Quaestura of Sebastiano Corradi, showing how Corradi used dialogue to refute criticisms of Cicero and to make him suitably proto-Christian to fit Counter-Reformation tastes. Cristina Martín Puente presents a lovely collection of manuscript portraits of Cicero, but her text is mostly description and has relatively little about iconography. Joanna Kenty well shows how John Adams both emulated Cicero as a public figure and saw himself to be like Cicero in experiencing the ingratitude of his country; she might also have mentioned the extraordinary letters between Adams and Jefferson comparing Cicero to Plato. The three papers in the last section of the volume make valuable contributions to intellectual history. Much more ambitious than Kenty's version of Adams is Igor...

Effective writing style transfer via combinatorial paraphrasing

Abstract Stylometry can be used to profile or deanonymize authors against their will based on writing style. Style transfer provides a defence. Current techniques typically use either encoder-decoder architectures or rule-based algorithms. Crucially, style transfer must reliably retain original semantic content to be actually deployable. We conduct a multifaceted evaluation of three state-of-the-art encoder-decoder style transfer techniques, and show that all fail at semantic retainment. In particular, they do not produce appropriate paraphrases, but only retain original content in the trivial case of exactly reproducing the text. To mitigate this problem we propose ParChoice: a technique based on the combinatorial application of multiple paraphrasing algorithms. ParChoice strongly outperforms the encoder-decoder baselines in semantic retainment. Additionally, compared to baselines that achieve nonnegligible semantic retainment, ParChoice has superior style transfer performance. We also apply ParChoice to multi-author style imitation (not considered by prior work), where we achieve up to 75% imitation success among five authors. Furthermore, when compared to two state-of-the-art rule-based style transfer techniques, ParChoice has markedly better semantic retainment. Combining ParChoice with the best performing rulebased baseline (Mutant-X [34]) also reaches the highest style transfer success on the Brennan-Greenstadt and Extended-Brennan-Greenstadt corpora, with much less impact on original meaning than when using the rulebased baseline techniques alone. Finally, we highlight a critical problem that afflicts all current style transfer techniques: the adversary can use the same technique for thwarting style transfer via adversarial training. We show that adding randomness to style transfer helps to mitigate the effectiveness of adversarial training.

Wittgenstein and G. H. von Wright’s path to The Varieties of Goodness (1963)

The development of G. H. von Wright’s work in ethics is traced from the early 1950s to the publication of The Varieties of Goodness in 1963, with special focus on the influences stemming from Wittgenstein’s later thought. In 1952, von Wright published an essay suggesting a formal analysis of the concept of value. This attempt was soon abandoned. The change of approach took place at the time von Wright started his work on Wittgenstein’s Nachlass and tried to articulate the main lines of Wittgenstein’s Philosophische Untersuchungen in spoken and written form. This preoccupation with Wittgenstein led to a new approach to value judgments in an 1954 article, which shows strong late-Wittgensteinian influences on methodical as well as stylistic levels. Some traces of the 1954 approach are still visible in The Varieties of Goodness, while the stylistic imitations and allusions have mostly been dropped. Furthermore, von Wright’s approach in The Varieties is wider in scope, aiming at a broad overview of the phenomenon von Wright calls the “varieties of goodness”. But new conncections to the later Wittgenstein also seem to emerge: the idea of a "perspicuous presentation" of ethical concepts and the will to make philosophy relevant for "kulturens större sammanhang".

Communicative Behavior via Gender Identity (Based on the English language “Love Stories”)

The focus of the paper concerns the specific features of characters’ communicative behavior via gender identity. This study deals with two types of correlation and interaction between real and fictional text-creating subjects: the gender identity of the author and the image created in the literary text.
 The research procedure is based on the discourse analysis. The study proves the influence of psychological and socio-cultural factors on speech organization. Due to the combination of content- and elements of intent-analysis the author’s pragmatic intentions in the communicative process are identified. The main findings of this paper are based on the theoretical basis of gender-specified communicative behavior study and the statistical data analysis.
 As a result of the research the specific features of gender communicative style are defined. Besides it is claimed, that taboo words differentiate basic features of male and female speech. The further analysis of non-literary vocabulary proves that gender stereotypes in female-written novels determine the choice of language means for the creation of an ideal male and female image: neglect of moral rules (domination of taboo words provoking conflict and rivalry) or compliance of communicative norms (a rare usage of derogatory vocabulary, communication aimed at cooperation and interaction). Gender differentiation of taboo lexicon in male-written novels argues the conventional stereotype of using taboos mainly by men. The research paper represents the differences in male and female speech, connected with the phenomenon of gender stylization. It proves that style imitation of stereotypical features in the opposite-sex speech occurs in two directions: female authors imitate the masculine communicative style of characters by the domination of taboo words, whereas male authors imitate the feminine communicative style by softening expressions of both-sex characters.
 Thus, in conclusion the study reveals imitating and identifying features of the author’s natural gender identity, such as domination of taboo words like “damn” and “hell” in opposite-sex communication in male-written novels unlike communicative behavior of male and female characters in the novels written by women.

Functions of Phraseological Units in Detective Prose of B. Akunin

The author considers the problem of stylistic functions of linguistic units in modern Russian prose works through analyzing phraseological units in the detectives of B. Akunin. The article presents the most frequent types of phraseological units (idioms, set phrases, proverbs, sayings, popular expressions and other types of clichéd utterances) as representation of a personal literary style of this author. The research results point to their stylistic variety with high literary, colloquial, low colloquial, and slang units among them. The major types of phraseological unit conversion are distinguished as a prove of the writer's personal style, including, complete deformation of a component composition of a set phrase, reduction of the lexical length of phraseological units (implication), distribution of any component composition of the unit (explication), combining two or more phraseological units into a single set expression (contamination), replacement of a component in the composition of phraseological units with words of general literary layers (lexical variation), etc. The stylistic functions of all phraseological units under study are interpreted as retro-representation of the language of a certain time period, stylistic imitation of the communicative tone of oral speech, verbal characteristics of the characters who are referred to various social groups, and creation of humorous tone of the story. A comprehensive description of phraseological units used in modern fiction has revealed their artistic and stylistic potential.

A PARÓDIA MINT INTRALINGVÁLIS (TEXTUÁLIS) FORDÍTÁS

A szerző a dolgozat bevezetőjében a fordítás rövid meghatározásával, valamint olyan típusaival foglalkozik, amelyek az irodalmi szövegek értelmezéséhez közel(ebb) állnak, mint például az intralingvális (textuális) fordítás. Mivel a paródia fogalma nem egyértelmű a szakirodalomban, ennek definiálására a szerző sem tesz kísérletet, elfogadja azonban Umberto Eco kettős kódolás fogalmát, valamint elhelyezi a paródiát a nyelven belüli fordítások között. Ezt követően a szerző Karinthy Ady-paródiáit, valamint Weöres Sándor Ady szelleme mondja című hommage-át elemzi a stílusimitáció szempontjából.

CISI-net: Explicit Latent Content Inference and Imitated Style Rendering for Image Inpainting

Convolutional neural networks (CNNs) have presented their potential in filling large missing areas with plausible contents. To address the blurriness issue commonly existing in the CNN-based inpainting, a typical approach is to conduct texture refinement on the initially completed images by replacing the neural patch in the predicted region using the closest one in the known region. However, such a processing might introduce undesired content change in the predicted region, especially when the desired content does not exist in the known region. To avoid generating such incorrect content, in this paper, we propose a content inference and style imitation network (CISI-net), which explicitly separate the image data into content code and style code. The content inference is realized by performing inference in the latent space to infer the content code of the corrupted images similar to the one from the original images. It can produce more detailed content than a similar inference procedure in the pixel domain, due to the dimensional distribution of content being lower than that of the entire image. On the other hand, the style code is used to represent the rendering of content, which will be consistent over the entire image. The style code is then integrated with the inferred content code to generate the complete image. Experiments on multiple datasets including structural and natural images demonstrate that our proposed approach out-performs the existing ones in terms of content accuracy as well as texture details.

Проблема imitatio в графическом наследии Якопо Понтормо

The concept of imitatio in the context of the aesthetic Renaissance thought and later in the artistic practice itself acquired the value of compositional and stylistic imitation of the famous artworks by other artists and also entailed the ability to interpret the original sample in accordance with the individual artistic manner. Such method reaches its heyday in the works of draftsmen of the High Renaissance. A very illustrative example in the context of theoretical argumentation of the method of imitation and its practical implementation can be found in the oeuvre of Jacopo Pontormo. In his “Lives”, Vasari gives the best characteristics of Pontormo’s picturesque manner. However, the artist’s creative activity experiences strong changes (and not in the better way, according to Vasari), due to his familiarity with the engravings of Durer.This process also affected Pontormo and had an undeniable impact on the further development of his painting style. Analyzing the corpus of Pontormo’s drawings relating to the frescoes of the Certosa del Galluzzo, we can see how the study of the prints of Durer influenced the stylistic features of the artist’s graphic manner of the 1520s (“The Procession to Calvary”, “Agony in the Garden”, “The Supper at Emmaus”). The example of Pontormo’s graphic heritage allows us to assess the importance of the problem of imitation as an artistic technique for the study of the artist’s creative method, of his artistic interests and preferences, as well as of the influence that the style of Durer’s engravings had on his works.