Recognition of sarcastic statements has been a challenge in the process of sentiment analysis. A sarcastic sentence contains only positive words conveying a negative sentiment. Therefore, it is tough for any automated machine to identify the exact sentiment of the text in the presence of sarcasm. The existing systems for sarcastic sentiment detection are limited to the text scripted in English. Nowadays, researchers have shown greater interest in low resourced languages such as Hindi, Telugu, Tamil, Arabic, Chinese, Dutch, Indonesian, etc. (...) To analyse these low resource languages, the biggest challenge is the lack of available resources, especially in the context of Indian languages. Indian languages are very rich in morphology which pose a greater challenge for the automated machines. Telugu is one of the most popular languages after Hindi among Indian languages. In this article, we have collected and annotated a corpus of Telugu conversation sentences in the form of a question followed by a reply for sarcasm detection. Further, a set of algorithms are proposed for the analysis of sarcasm in the corpus of Telugu conversation sentences. The proposed algorithms are based on hyperbolic features namely, Interjection, Intensifier, Question mark and Exclamation symbol. The achieved accuracy is 94%. (shrink)

This chapter aims to establish what it is that bloodbending is, according to its treatment in the Avatar: The Last Airbender ( ATLA ) series. It explores why this is particularly bad in ways that other forms of bending are not. The chapter addresses the question about potentially permissible forms of bloodbending and whether this affects or does not affect Katara and the Council of Republic City's decision to ban bloodbending in The Legend of Korra. Bloodbending was discovered (...) by Hama, a southern waterbender who was held in captivity by firebenders in a prison where waterbenders were deprived of water. The practice of bloodbending has brought about objectionable consequences, but in ATLA the consequences are miniscule compared to almost all other forms of bending at the end of the Hundred Year War. In order to show what makes bloodbending particularly objectionable, the chapter describes the philosopher Immanuel Kant. (shrink)

"Chapters address philosophical aspects of the video game The Legend of Zelda and video game culture in general"--Provided by publisher.

There is a traditional conception of knowledge but it is not the Justified True Belief analysis Gettier attacked. On the traditional view, knowledge consists in having a belief that bears a discernible mark of truth. A mark of truth is a truth-entailing property: a property that only true beliefs can have. It is discernible if one can always tell that a belief has it, that is, a sufficiently attentive subject believes that a belief has it if and only if it (...) has it. Requiring a mark of truth makes the view infallibilist. Requiring it to be discernible makes the view internalist. I call the view Classical Infallibilism. (shrink)

In the world of Avatar: The Last Airbender (ATLA) and The Legend of Korra (LOK) —let’s call it the Bending World—some people (“benders”) are endowed with telekinetic superpowers to maneuver surrounding objects without physical interaction, by mentally steering (“bending”) one of the four classical “elements of nature” composing the objects: air, fire, water, and earth. Perhaps, in a world where the fundamental laws of nature are radically different from those of our world, the fundamental conditions and manifestations of (...) politics should be radically different too. That, of course, is not to deny that political bodies familiar to us are depicted in ATLA and LOK: tribes, monarchies, autonomous townships, city-states, loose federations, colonial empires, and democracies. Despite those familiar depictions, however, it’s worth contemplating how the existence of supernatural power might fundamentally alter the norms and rationales of politics—and how it might in turn help us better understand our own political reality. (shrink)

Modern interpreters have variously cast the Middle Ages as a benighted past from which the West had to evolve and, more recently, as the model for a potential ...

This volume presents a penetrating interview and sixteen essays that explore key intersections of medieval religion and philosophy. With characteristic erudition and insight, Rémi_ _Brague focuses less on individual Christian, Jewish, and Muslim thinkers than on their relationships with one another. Their disparate philosophical worlds, Brague shows, were grounded in different models of revelation that engendered divergent interpretations of the ancient Greek sources they held in common. So, despite striking similarities in their solutions for the philosophical problems they all faced, (...) intellectuals in each theological tradition often viewed the others’ ideas with skepticism, if not disdain. Brague’s portrayal of this misunderstood age brings to life not only its philosophical and theological nuances, but also lessons for our own time. (shrink)

This volume presents a penetrating interview and sixteen essays that explore key intersections of medieval religion and philosophy. With characteristic erudition and insight, Rémi_ _Brague focuses less on individual Christian, Jewish, and Muslim thinkers than on their relationships with one another. Their disparate philosophical worlds, Brague shows, were grounded in different models of revelation that engendered divergent interpretations of the ancient Greek sources they held in common. So, despite striking similarities in their solutions for the philosophical problems they all faced, (...) intellectuals in each theological tradition often viewed the others’ ideas with skepticism, if not disdain. Brague’s portrayal of this misunderstood age brings to life not only its philosophical and theological nuances, but also lessons for our own time. (shrink)

A community, for ecologists, is a unit for discussing collections of organisms. It refers to collections of populations, which consist (by definition) of individuals of a single species. This is straightforward. But communities are unusual kinds of objects, if they are objects at all. They are collections consisting of other diverse, scattered, partly-autonomous, dynamic entities (that is, animals, plants, and other organisms). They often lack obvious boundaries or stable memberships, as their constituent populations not only change but also move in (...) and out of areas, and in and out of relationships with other populations. Familiar objects have identifiable boundaries, for example, and if communities do not, maybe they are not objects. Maybe they do not exist at all. The question this possibility suggests, of what criteria there might be for identifying communities, and for determining whether such communities exist at all, has long been discussed by ecologists. This essay addresses this question as it has recently been taken up by philosophers of science, by examining answers to it which appeared a century ago and which have framed the continuing discussion. (shrink)

In the late 19th and early 20th centuries, more than 4 million Italians migrated to the United States of America (U.S.), which they regarded as a utopia. The film _The Legend of 1900_, which was inspired by Alessandro Baricco’s monologue _Nocecento_ and directed by Giuseppe Tornatore, tells the story about the genius pianist 1900, an orphan, who is fostered by Danny, a black coalman in the boiler room of an ocean liner, and whose parents are presumably Italian immigrants. Due (...) to immigration law, 1900, a man with neither identity, visa, nor legal papers, cannot legally set foot on American soil. As a genius pianist, his existence is nothing more than that of musician—an entertainer to passengers on the gigantic trans-Atlantic liner Virginian, the only place he is permitted to live. According to Michel Foucault’s notion of heterotopia, a ship is “a piece of floating space, a placeless place”—a vessel transporting people to the land of their dreams. However, 1900, who has no legal status, will never arrive in utopia aboard Virginian. He can only construct a heterotopia—a mirror of utopia—so that it to him is a utopia. In the eyes of the law, 1900 is a legally non-existent person on Virginian, a placeless place. However, it is this lawless heterotopia and isolation that create a genius. In this paper, I illustrate how Virginian, as a place outside the law of land, metaphorically gives birth to a pianist, 1900, and why 1900 at the end chooses not to leave the ship, while also discussing the meaning behind the film and the relationship between law and space. (shrink)

The majority of The Legend of the Middle Ages: Philosophical Explorations of Medieval Christianity, Judaism, and Islam has been published previously in different forms, but this edition has been completely revised by the author, the well-known French medievalist and intellectual historian Rémi Brague. It was first published in French under the title Au moyen du Moyen Âge in 2006. The book consists of sixteen essays ranging from Brague’s early years at the Université Panthéon-Sorbonne (Paris I) in the 1990s up (...) until 2005. As a collection of articles, therefore, The Legend of the Middle Ages is not designed to be a monograph; one should not expect a single argument from the book, although it does explore key intersections of medieval religion and philosophy that I will touch upon later. (shrink)

If the question about the causes of the crises has generated a good deal of literature in Spain, the key issue in recent times has been how to create that tangible and intangible wealth that only companies can give. One of the proposals that specialists agree upon is to revitalise the business entrepreneurial spirit, presenting the entrepreneurs’ way of life as an attractive option, due to the good they produce and the social recognition they enjoy. Accepting the suggestions of the (...) so-called “narrative turn”, the article analyses the virtualities of business narratives in order to enhance the role of entrepreneurs. To this end, the article aims to cover three stages: narratives are necessary because they are brain-based, it is advisable to find out why entrepreneurs are not usually considered in Spain as the main characters of good narratives, good narratives, the ones that convince, are the ones that have the capacity to show the meaning of the entrepreneurial activity and the truth of what we have been doing. (shrink)

The title is meant to tease the reader and attract his/her curiosity, but the question behind the teasing is serious. The reader will gently excuse the unconventional gait of a chapter that originated as an invited lecture given in Paris, at the HOPOS 2006 June conference. Doing philosophy of science requires having been trained both in philosophy and in (at least some) science. That is already a challenge. Studying the history of philosophy of science (which is what "hopos" means) might (...) require having been trained as a historian as well. As life is short, and no one is omniscient, philosophy of science and its history can only be the endeavour of a community of researchers. A common endeavour calls for, if not a plan, at least a common rationality. What follows is about doubts and hopes, and about the reasons we have for tolerating, and even loving, a variety of styles in the ways philosophy of science is practiced. (shrink)