Transcription of multi-genre media archives using out-of-domain data

We describe our work on developing a speech recognition system for multi-genre media archives. The high diversity of the data makes this a challenging recognition task, which may benefit from systems trained on a combination of in-domain and out-of-domain data. Working with tandem HMMs, we present Multi-level Adaptive Networks (MLAN), a novel technique for incorporating information from out-of-domain posterior features using deep neural networks. We show that it provides a substantial reduction in WER over other systems, with relative WER reductions of 15% over a PLP baseline, 9% over in-domain tandem features and 8% over the best out-of-domain tandem features. © 2012 IEEE.

A proposal for low cross-talk square-lattice photonic crystal waveguide intersection utilizing the symmetry of waveguide modes

We propose an approach to construct waveguide intersections with broad bandwidth and low cross-talk for square-lattice photonic crystals. by utilizing a vanishing overlap of the propagation modes in the waveguides created by defects which support dipole-like defect modes. The finite-difference time-domain method is used to simulate the waveguide intersection created in the two-dimensional square-lattice photonic crystals. Over a bandwidth of 30 nm with the center wavelength at 1300 nm, transmission efficiency above 90% is obtained with cross-talk below -30 dB. Especially, we demonstrate the transmission of a 500-fs pulse at 1.3 Am through the intersection, and the pulse after transmission shows very little distortion while the cross-talk remains at low level meantime. (c) 2006 Elsevier B.V. All rights reserved.

Quasi -symmetric designs with good blocks and intersection number one

Mavron, Vassili; McDonough, T.P.; Schrikhande, M.S., (2003) 'Quasi -symmetric designs with good blocks and intersection number one', Designs Codes and Cryptography 28(2) pp.147-162 RAE2008

Program Representation Size in an Intermediate Language with Intersection and Union Types

The CIL compiler for core Standard ML compiles whole programs using a novel typed intermediate language (TIL) with intersection and union types and flow labels on both terms and types. The CIL term representation duplicates portions of the program where intersection types are introduced and union types are eliminated. This duplication makes it easier to represent type information and to introduce customized data representations. However, duplication incurs compile-time space costs that are potentially much greater than are incurred in TILs employing type-level abstraction or quantification. In this paper, we present empirical data on the compile-time space costs of using CIL as an intermediate language. The data shows that these costs can be made tractable by using sufficiently fine-grained flow analyses together with standard hash-consing techniques. The data also suggests that non-duplicating formulations of intersection (and union) types would not achieve significantly better space complexity.

Principality and Decidable Type Inference for Finite-Rank Intersection Types

Principality of typings is the property that for each typable term, there is a typing from which all other typings are obtained via some set of operations. Type inference is the problem of finding a typing for a given term, if possible. We define an intersection type system which has principal typings and types exactly the strongly normalizable λ-terms. More interestingly, every finite-rank restriction of this system (using Leivant's first notion of rank) has principal typings and also has decidable type inference. This is in contrast to System F where the finite rank restriction for every finite rank at 3 and above has neither principal typings nor decidable type inference. This is also in contrast to earlier presentations of intersection types where the status of these properties is not known for the finite-rank restrictions at 3 and above.Furthermore, the notion of principal typings for our system involves only one operation, substitution, rather than several operations (not all substitution-based) as in earlier presentations of principality for intersection types (of unrestricted rank). A unification-based type inference algorithm is presented using a new form of unification, β-unification.

Inferring Intersection Typings that are Equivalent to Call-by-Name and Call-by-Value Evaluations

We present a procedure to infer a typing for an arbitrary λ-term M in an intersection-type system that translates into exactly the call-by-name (resp., call-by-value) evaluation of M. Our framework is the recently developed System E which augments intersection types with expansion variables. The inferred typing for M is obtained by setting up a unification problem involving both type variables and expansion variables, which we solve with a confluent rewrite system. The inference procedure is compositional in the sense that typings for different program components can be inferred in any order, and without knowledge of the definition of other program components. Using expansion variables lets us achieve a compositional inference procedure easily. Termination of the procedure is generally undecidable. The procedure terminates and returns a typing if the input M is normalizing according to call-by-name (resp., call-by-value). The inferred typing is exact in the sense that the exact call-by-name (resp., call-by-value) behaviour of M can be obtained by a (polynomial) transformation of the typing. The inferred typing is also principal in the sense that any other typing that translates the call-by-name (resp., call-by-value) evaluation of M can be obtained from the inferred typing for M using a substitution-based transformation.

History, revolution and the British popular novel: historical fiction in the romantic age

“History, Revolution and the British Popular Novel” takes as its focus the significant role which historical fiction played within the French Revolution debate and its aftermath. Examining the complex intersection of the genre with the political and historical dialogue generated by the French Revolution crisis, the thesis contends that contemporary fascination with the historical episode of the Revolution, and the fundamental importance of history to the disputes which raged about questions of tradition and change, and the meaning of the British national past, led to the emergence of increasingly complex forms of fictional historical narrative during the “war of ideas.” Considering the varying ways in which novelists such as Charlotte Smith, William Godwin, Mary Robinson, Helen Craik, Clara Reeve, John Moore, Edward Sayer, Mary Charlton, Ann Thomas, George Walker and Jane West engaged with the historical contexts of the Revolution debate, my discussion juxtaposes the manner in which English Jacobin novelists inserted the radical critique of the Jacobin novel into the wider arena of history with anti-Jacobin deployments of the historical to combat the revolutionary threat and internal moves for socio-political restructuring. I argue that the use of imaginative historical narrative to contribute to the ongoing dialogue surrounding the Revolution, and offer political and historical guidance to readers, represented a significant element within the literature of the Revolution crisis. The thesis also identifies the diverse body of historical fiction which materialised amidst the Revolution controversy as a key context within which to understand the emergence of Scott’s national historical novel in 1814, and the broader field of historical fiction in the era of Waterloo. Tracing the continued engagement with revolutionary and political concerns evident in the early Waverley novels, Frances Burney’s The Wanderer (1814), William Godwin’s Mandeville (1816), and Mary Shelley’s Valperga (1823), my discussion concludes by arguing that Godwin’s and Shelley’s extension of the mode of historical fiction initially envisioned by Godwin in the revolutionary decade, and their shared endeavour to retrieve the possibility enshrined within the republican past, appeared as a significant counter to the model of history and fiction developed by Walter Scott in the post-revolutionary epoch.

Thomas Wolfe and the genre question: Beyond the "charge of autobiography"

The North Carolinian author Thomas Wolfe (1900‐1938) has long suffered under the “charge of autobiography,” which lingers to this day in critical assessments of his work. Criticism of Wolfe is frequently concerned with questions of generic classification, but since the 1950s, re‐assessments of Wolfe’s work have suggested that Wolfe’s “autobiographical fiction” exhibits a complexity that merits further investigation. Strides in autobiographical and narrative theory have prompted reconsiderations of texts that defy the artificial boundaries of autobiography and fiction. Wolfe has been somewhat neglected in the canon of American fiction of his era, but deserves to be reconsidered in terms of how he engages with the challenges and contradictions of writing about or around the self. This thesis investigates why Wolfe’s work has been the source of considerable critical discomfort and confusion with regard to the relationship between Wolfe’s life and his writing. It explores this issue through an examination of elements of Wolfe’s work that problematise categorisation. Firstly, it investigates the concept of Wolfe as “storyteller.” It explores the motivations and philosophies that underpin Wolfe’s work and his concept of himself as a teller of tales, and examines aspects of Wolfe’s writing process that have their roots in medieval traditions of the memorisation and recitation of tales. The thesis then conducts a detailed examination of how Wolfe describes the process of transforming his memory into narrative through writing. The latter half of the thesis examines narrative techniques used by Wolfe, firstly analysing his extensive use of the iterative and pseudo‐iterative modes, and then his unusual deployment of narrators and focalization. This project sheds light on elements of Wolfe’s approach to writing and narrative strategies that he employs that have previously been overlooked, and that have created considerable critical confusion with regard to the supposedly “autobiographical” genesis of his work.

Medieval Irish vision literature: a genre study

This dissertation examines medieval literary accounts of visions of the afterlife with an origin or provenance in Ireland from the perspective of genre, analysing their structural and literary characteristics both synchronically and diachronically. To this end, I have developed a new typology of medieval vision literature. I address the question in what manner the internationally attested genre of vision literature is adapted and developed in an Irish literary milieu. I explore this central research question through an interrogation of the typological unity of the key texts, both in formal arrangement and in the eschatological themes they express. My analysis of the structure and rhetoric of these narratives reveals the primary role of identity strategies, question-and-answer patterns and exhortation for their narrative cohesion and didactic function. In addition, I was able to make a formal distinction at text-level between the adaptation of the genre as an autonomous unit and the adaptation of thematic motifs as topoi. This further enabled me to nuance the distribution of characteristic features in the genre. My analysis of the spatial and temporal aspects of the eschatological journey confirms a preoccupation with personal eschatology. It reveals a close connection between the development of the aspects of graded access and trial in the genre and a growing awareness of an interim state of the soul after death. Finally, my dissertation provides new editions, translations and analyses of primary sources. My research breaks new ground in the hitherto underexplored area of genre adaptation in Ireland. In addition, it contributes significantly to our understanding of the nature of vision literature both in an Irish and a European context, and to our knowledge of the transmission of eschatological thought in the Latin West. Discusses the visions of: Laisrén, Fursa, Adomnán, Lóchán, Tnugdal, Owein and Visio Sancti Pauli Redactions VI and XI.

Chicana poetics: genre and style in Gloria Anzaldúa and Lorna Dee Cervantes

This thesis conducts a formal study of the poetry of Gloria Anzaldúa and Lorna Dee Cervantes, placing their work in dialogue with genre and style. These two Chicana poets are exemplary of politicised experimentation with poetics, underpinned by a keen awareness of the rich history of form, genre and style. In the work of each poet, two poetic modes are examined: one traditional, and one experimental. Anzaldúa’s uses of the dramatic monologue as a border genre, and her construction of [auto]poetics, stemming from her multi-genre, autobiographical approach to writing, are considered. Cervantes’s complex approach to the construction of docupoetics that achieves a depth of field in terms of merging a multidimensional approach to aesthetics with highly politicised transnational content, as well as her engagement with the longstanding poetic of elegy via various formal points of entry, is investigated. These poetic modes are primarily explored via close readings, supported by a multidisciplinary framework that includes Anzaldúa’s feminist theories of identity and writing, abjection theory, postcolonialism, and transnationalism. Overall, these four key areas demonstrate the ways in which aesthetics is a crucial consideration in the exploration of the broader issues of content and context in Chicana poetry.

IMPROMPTU: FROM PUBLISHER'S IMPULSE TO AN ESTABLISHED SMALL­ SCALE GENRE IN PIANO LITERATURE

The word 'impromptu' began to appear in music literature in the early 19th century, specifically as title for a relatively short composition written for solo piano. The first impromptus appear to have been named so by the publishers. However, the composers themselves soon embraced the title to indicate, for the most part, fairly short character pieces. Impromptus do not follow any specific structural pattern, although many are cast in ternary form. The formal design ranges from strict compound ternary in the early impromptus to through-composed and variation forms. The peak of impromptu's popularity undoubtedly came during the middle and late19th century. However, they are still being composed today, albeit much less frequently. Although there have been many variants of impromptus in relation to formal design and harmonic language over the years, the essence of impromptu remains the same: it is still a short character piece with a general feeling of spontaneity. Overall, impromptus may be categorized into several different groups: some appear as part of a larger cycle, such as Dvorak's G minor Impromptu from his Piano Pieces, B. 110; many others use an element of an additional genre that enhances the character ofthe impromptu, such as Liszt's Valse-Impromptu and Antonio Bibalo's Tango Impromptu; yet another group consists of works based on opera themes, such as Liszt's Impromptu Brillant sur des themes de Rossini et Spontini and Czerny's Impromptus et variations sur Oberon, Op. 134. My recording project includes well-known impromptus, such as Schubert's Op. 142 and the four by Chopin, as well as lesser known works that have not been performed or recorded often. There are four impromptus that have been recorded here for the first time, including those written by Leopold Godowsky, Antonio Bibalo, Altin Volaj, and Nikolay Mazhara. I personally requested the two last named composers to contribute impromptus to this project. My selection represents works by twenty composers and reflects the different types of impromptus that have been encountered through almost three hundred years of the genre's existence, from approximately 1817 (VoriSek) to 2008 (Volaj and Mazhara).

Les discriminations au travail dues à l’orientation sexuelle et les identités de genre

info:eu-repo/semantics/published