Stylometry can be defined as the use of numerical methods for the solution of literary problems, most often problems of authorship, integrity, and chronology. As stylometry has been described it seems hardly more than the application of common sense to a literary situation. For example: It consists in collecting as many peculiarities of style and grammar as possible from these works [the dialogues of Plato], particularly the Laws, which are known, or for good reasons supposed to belong to (...) the author's latest period, and observing the frequency with which these occur in other dialogues. If it is then found, e.g., that one dialogue uses commonly 100 of these, another but 60, it is reasonable to suppose the former to be nearer in time to the Laws, i.e. later. (shrink)

Stylometry can be defined as the use of numerical methods for the solution of literary problems, most often problems of authorship, integrity, and chronology. As stylometry has been described it seems hardly more than the application of common sense to a literary situation. For example: It consists in collecting as many peculiarities of style and grammar as possible from these works [the dialogues of Plato], particularly the Laws, which are known, or for good reasons supposed to belong to (...) the author's latest period, and observing the frequency with which these occur in other dialogues. If it is then found, e.g., that one dialogue uses commonly 100 of these, another but 60, it is reasonable to suppose the former to be nearer in time to the Laws, i.e. later. (shrink)

Visual stylometry is a new interdisciplinary research field that sits at the junction of digital humanities, empirical aesthetics, and computer science. Research in this field employs image analysis algorithms to study key aspects of artistic style. The nature of artistic style is the subject of ongoing debate within art history and philosophy of art. Computational and statistical methods in visual stylometry allow researchers to quantify and compare aspects of artistic style over the course of the career of an (...) individual artist, among artists who share in a common artistic style, and across different schools of art. The results of these studies provide clues to the image features that enable viewers to categorize works as belonging to different artistic styles. -/- We have developed a system that can act as an open access laboratory for visual stylometry. This approach is powerful enough to support advanced academic research in computer science, cognitive science, art history, and the philosophy of art while at the same time providing a user friendly interface accessible to students and researchers with little or no computer science background. Our framework is designed around the idea of scientific workflows. Scientific workflows allow users to build executable analyses in the same way they would draw a flowchart, by dragging objects representing data sets and image analysis procedures onto the work-space and drawing links between them. These workflows and data sets can be exported using open standards as web objects that can then be shared or modified by other users. -/- Our platform, Workflows for the Analysis of Images in Visual Stylometry (WAIVS), has the potential to promote computational literacy and data analytic skills among humanities students, to introduce science students to research in art and the humanities, to explore the nature of artistic style and its role in our understanding of artwork, and to help researchers in cognitive science understand how viewers perceptually categorize, recognize, and otherwise engage with artworks. (shrink)

Both the authorship and the dating of the so-called “Diktat für Schlick” (DFS), once attributed to Ludwig Wittgenstein and assigned by Georg Henrik von Wright to the Wittgenstein Nachlass as item 302, are debated topics in Wittgenstein and Vienna Circle research. Schulte (Waismann as Spokesman for Wittgenstein. In: McGuinness B (ed). Friedrich Waismann - causality and logical positivism. Vienna Circle Institute Yearbook 15. Springer, Dordrecht, pp 225–242, 2011) and Manninen (Waismann’s testimony of Wittgenstein’s fresh starts 1931–35. In: McGuinness B (ed). (...) Friedrich Waismann - causality and logical positivism. Vienna Circle Institute Yearbook 15. Springer, Dordrecht, pp 243–265, 2011) hold that DFS was authored by Friedrich Waismann rather than Wittgenstein. Applying techniques from computational stylometry to the authorship question, the paper concludes that DFS is located stylometrically in the middle between Waismann’s and Wittgenstein’s writings, but slightly closer to Wittgenstein, and so Wittgenstein authorship is hence stylometrically still not unlikely. The paper concludes by presenting a number of factors that speak in favour of the view that DFS might originally indeed have been dictated by Wittgenstein. For the computational stylometry component, the paper uses the Eder et al.’s (Stylometry with R: a package for computational text analysis. R Journal 8/1:107–121. Accessed 21 Oct 2021. https://journal.r-project.org/archive/2016/RJ-2016-007/index.html, 2016) “Stylometry with R” package; the degree of similarity and dissimilarity between documents is calculated by Burrows’ Delta measure; and the results are displayed using Hierarchical Cluster Analysis and Principal Components Analysis. For the text corpus part, the paper uses texts authored by Schlick, Waismann and Wittgenstein. For the archival research part, the paper refers to materials form the Schlick Nachlass in the North Holland Archives, the Waismann Nachlass in the Bodleian Libraries, the Rose Rand Nachlass in the Pittsburgh Archives of Scientific Philosophy, the Ludwig Wittgenstein Nachlass in the Trinity College Cambridge Wren Library, and the Cornell copy of the Ludwig Wittgenstein Nachlass. The paper is a follow-up on Oakes and Pichler (Computational stylometry of Wittgenstein’s ‘Diktat für Schlick’”. In: Hareide L, Johannson C, Oakes M (eds). The many facets of corpus linguistics in Bergen: In honour of Knut Hofland. Bergen Language and Linguistics Series (BeLLS), Bergen, pp 221–240, 2013); for the current paper we have extended the Waismann text corpus with more texts written under the influence of Wittgenstein, a.o. Logik, Sprache, Philosophie (1976). (shrink)

Recent interdisciplinary research in visual stylometry employs digital image analysis algorithms to study the image features and statistics that underwrite our experience of artworks. This research brings psychologists, computer scientists, and art historians together to explore the formal image qualities that define artistic style. We introduce the field of visual stylometry, discuss it's implications for our understanding of both the nature of categories of art and the role artistic style plays in our engagement with artworks. We then discuss (...) the results of our research employing entropy analyses and discrete tonal analyses to classify paintings by school (Impressionism/Hudson River School) and medium/technique (Wyeth/egg-tempura/watercolor). (shrink)

Plato stands as the fount of our philosophical tradition, being the first Western thinker to produce a body of writing that touches upon a wide range of topics still discussed by philosophers today. In a sense he invented philosophy as a distinct subject, for although many of these topics were discussed by his intellectual predecessors and contemporaries, he was the first to bring them together by giving them a unitary treatment. This volume contains fourteen essays discussing Plato's views about knowledge, (...) reality, mathematics, politics, ethics, love, poetry, and religion. There are also analyses of the intellectual and social background of his thought, the development of his philosophy throughout his career, the range of alternative approaches to his work, and the stylometry of his writing. (shrink)

Effective methods for evaluating the reliability of statements issued by witnesses and defendants in hearings would be an extremely valuable support to decision-making in court and other legal settings. In recent years, methods relying on stylometric techniques have proven most successful for this task; but few such methods have been tested with language collected in real-life situations of high-stakes deception, and therefore their usefulness outside lab conditions still has to be properly assessed. In this study we report the results obtained (...) by using stylometric techniques to identify deceptive statements in a corpus of hearings collected in Italian courts. The defendants at these hearings were condemned for calumny or false testimony, so the falsity of (some of) their statements is fairly certain. In our experiments we replicated the methods used in previous studies but never before applied to high-stakes data, and tested new methods. We also considered the effect of a number of variables including in particular the homogeneity of the dataset. Our results suggest that accuracy at deception detection clearly above chance level can be obtained with real-life data as well. (shrink)

That i) there is a somehow determined chronology of Plato’s dialogues among all the chronologies of the last century and ii) this theory is subject to many objections, are points this article intends to discuss. Almost all the main suggested chronologies of the last century agree that Parmenides and Theaetetus should be located after dialogues like Meno, Phaedo and Republic and before Sophist, Politicus, Timaeus, Laws and Philebus. The eight objections we brought against this arrangement claim that to place the (...) dialogues like Meno, Phaedo and Republic both immediately after the early ones and before Parmenides and Theaetetus is epistemologically and ontologically problematic. -/- Key Words: Plato; chronology; knowledge; being; Parmenides -/- Introduction While the ancient philosophers, doxographers and commentators from Aristotle onward considered, more or less, the question of the date and arrangement of the dialogues (cf. Irwin 2008, 77 n. 69), they would not observe a firm necessity to consider the progress of Plato’s theories in dialogues, maybe because they did not think of any essential shift in there. We might be able to say, nevertheless, that the most prominent feature of the ancient attitude to Plato was its peculiar attention to the Republic and the Timaeus as the most mature works in his philosophy and also the consideration of Laws as a later work. This tendency can be discovered from the general viewpoint of the first chronologies of the early 19th century after starting to deal with the issue. That Schleiermacher observed Republic as the culmination of Plato’s philosophy and as one of the latest dialogues besides Laws and Timaeus could reflex the implicit chronology of the tradition in the first mirrors it found. Another tendency in Schleiermacher is taking the triology of Theaetetus, Sophist and Politicus as relatively early. From the last quarter of 19th century onward, stylometry helped scholars to establish a new framework to constructa new arrangement between the dialogues. Based on stylistic as well as literary findings, Campbell (1867, xxxff.) argued for the closeness of the style of Sophist and Politicus with Timaeus, Critias, Philebus and Lawsthat, especially because of the certain evidence about this last dialogue’s lateness, led to the consideration of all as late dialogues. Almost every other stylistic effort after Campbell approved the similarities between Sophist and Politicus with Timaeus, Critias, Philebus and Laws. The result of all such investigations led to a new chronology that, despite some differences, has a fixed structure in all its appearances. 1. The Standard Chronology of the Dialogues The chronologies that are now commonly accepted are mostly based on the arrangement of dialogues to three groups corresponding to three periods of Plato’s life, which became predominant after applying stylistic features in assessing the similarities between dialogues. The fact that all the stylometric considerations reached to the similar results about the date of dialogues while they were assessing different stylistic aspects helped the new chronology become prevailing not only among stylistic chronologies but also between those like Fine, Kahn and Vlastos who were inclined more to the content-based arrangements. Even this latter group could not neglect the apparently certain results of using the method of stylometry. This was the main reason, I think, that made what they called content-based chronology be under the domination of stylometry much more than they could expect. The division of the dialogues into three separate groups became something that most of the scholars took for granted so far as Kahn thinks this division 'can be regarded as a fixed point of departure in any speculation about the chronology of the dialogues' (1996, 44). Thereafter, all the chronologists are accustomed to divide the dialogues to three groups of early, middle and late corresponding to the three stages of Plato’s life. Nevertheless, some of them tried to make subdivisions among each group and introduce some of the dialogues as transitional between different periods and thus reached to a fourfold classification of the dialogues. Although theycould never achieve to a consensus about the place of some dialogues, about which we will discuss soon, the whole spirit of theirchronological arrangements is the same and thus compelling enough for us to unify all of them with the label of 'Standard Chronology of Dialogues' (SCD). We brought together some of the most famous chronologies in the table below to make a comparison easier and to show how all are approximately of the same opinion about the place of some dialogues. The following points must be noted about this table: 1. I divided the dialogues to eight groups of early, late early, transitional, early middle, late middle, post-middle, early late, and late. Although none of the chronologists applies this classification, it can be helpful to compare them. In this table, for example, if one of the chronologist’s beholds one of the dialogues as later than all the dialogues of middle group, it is considered here as late middle. Otherwise, if it is emphasized that it is after all of them, it is considered as post-middle. The same is true about the dialogues of the late group in which I regarded the first dialogues of that period as early late only in those who explicitly considered some dialogues as earlier than other ones in the late group. Though, therefore, some of the dialogues might have not been considered as forming a distinct class, they are distinguished here. A. SCD’s Early and Transitional Dialogues When we move from stylometric to content-based chronologies, the homogeneity between the dialogues of each group is more understandable. Guthrie (1975, v. 4, 50) distinguishes three groups, the first of them includes Apology, Crito, Laches, Lysis, Charmides, Euthyphro, Hippias Minor, Hippias Major, Protagoras, Gorgiasand Ion. In addition to Meno, Phaedo and Euthydems, his first group does not include Cratylus and Menexenus. Unlike Guthrie, almost all the other content-based chronologiesof our study desire to distinguish two categories inside the first group of which the latter must be considered as the transitional group leading to the dialogues of the middle period. Kahn distinguishes four groups of dialogues and arranges two of them before middle period dialogues. The first group including Apology, Crito, Ion, Hippias Minor, Gorgiasand Menexenus he calls 'early' or 'presystematic' dialogues (1998, 124). The second group he calls the 'threshold', 'pre-middle' or 'Socratic' dialogues including seven: Laches, Charmides, Lysis, Euthyphro, Protagoras, Euthydemus and Meno. Based on Vlastos’ arrangement we must distinguish Euthydemus, Hippias Major, Lysis, Menexenus and Meno as 'transitional' dialogues from the 'elenctic' dialogues that are the other dialogues of Kahn’smentioned first two groups plus the first book of theRepublic. Fine also distinguishes 'transitional' dialogues from early or 'Socratic' dialogues,but her transitional dialogues are Gorgias, Meno, Hippias Major, Euthydemus and Cratylus of which she thinks the last two dialogues are 'controversial' (2003, 1). Her Socratic dialogues are all the remaining dialogues of Kahn’s first two groups. In spite of all the differences between the mentioned chronologies, it can be seen that all of them are inclined to arrange the early dialogues in a way that: i) Besides the dialogues that are considered as late, it never includes Republic II-X, Theaetetus, Phaedrus and Parmenides. ii) It intends to consider the dialogues like Euthydemus and Hippias Majorthat look more critical as later among the earlier dialogues or as transitional group. iii) Those who do not consider Meno as a middle period dialogue place it in their second or transitional group. iv) None of the content-based chronologies considers Phaedo and Symposium as early. Stylometric chronologies also intend to put them either as last dialogues among their early ones or as middle. B. SCD’s Middle Period Dialogues Campbell listed Republic, Phaedrus, Parmenides and Theaetetus as his second group of dialogues, an idea thatwas accepted by Brandwood. Ledger’smiddle period dialogueshad Euthydemus, Symposium and Cratylus in addition to the dialogues that Campbell and Brandwood had mentioned as middle. Among content-based chronologies, Guthrie’s list of middle period dialogues did not include Parmenides but some dialogues which had been considered as early in stylometric ones: Meno, Phaedo, Republic, Symposium, Phaedrus, Euthydemus, Menexenus and Cratylus. In sofar as I know, Euthydemus and Menexenus have not been considered as middle by other content-based chronologists and Guthrie is an exception among them. That Phaedo, Phaedrus, Symposium and Republic were middle period dialogues almost all the philosophical chronologists like Kahn, Fine, Vlastos (except Rep.I), Irwin andKraut came along. The dialogues they do not string along about are Meno, Cratylus, Parmenides and Theaetetus. Those like Guthrie, Kraut and Irwin who did not consider Meno as early presumably posit it among middles. The same can be said about Cratylus in the suggested chronologies of Guthrie, Kahn, Vlastos and Kraut. Nonetheless, it is different in case of Parmenides and Theaetetus. Whereas all the mentioned stylometric chronologists like Campbell, Brandwood and Ledger set them among middle period dialogues,the philosophical chronologists, it might seem at first, did not arrive at a consensus about them. While Guthrie and Fine put them as the first dialogues of the late group, Vlastos and Kraut set them as the latest of the middle group, as well as Kahn who puts them as post-middle and amongst the late period dialogues. Regardless the way they classify their groups, their disagreement does not affect the arrangement of the dialogues: they all posit Parmenides and Theaetetus after the series of Meno, Phaedo, Phaedrus, Symposium and Republic and before Sophist, Politicus, Timaeus, Philebus and Laws. To sum up SCD’s arrangement of the middle period dialogues we can add: v) Republic and Phaedrus have been considered by all the mentioned chronologists as dialogues of the middle period. vi) All the philosophical chronologies have reached a consensus about setting Phaedo and Symposium alongside with Republic and Phaedrus as middle. vii) While Stylometric alongside some philosophic chronologists arrange Parmenides and Theaetetus among their middle period dialogues and mostly as the latest among them, other philosophical chronologists put them as the early among the late dialogues. We can conclude then that SCD intends to locate these two dialogues at the boundary between the middle and late period dialogues. -/- . (shrink)

There are two mutually indispensable ways of doing it. The first is to study the development of Plato's literary style. The second is to follow the sequence of his thought from one dialogue to another. Neither test is infallible; that is why Platonic scholarship goes happily on and on. In the course of a brilliant article concerning the place of the Timaeus in the order of the dialogues, Mr. G. E. L. Owen has shown how a merely statistical study of (...) stylistic mannerisms may seriously mislead; and as for thought sequences, they notoriously depend on hypothetical intuitions and vary widely from one critic to another. But along both lines a certain advance is possible. Since Owen, mechanical stylometry is discredited; and no one would now do what Schleiermacher did in his time--place the Phaedrus chronologically first among the dialogues on the ground that it contains in brief the whole of Plato's philosophy. There is progress in these matters, if not finality. (shrink)

Wincenty Lutosławski was a multilingual Polish philosopher and author who coined the term 'stylometry'. Originally published in 1930, this book presents the outline of a course in metaphysics delivered by Lutosławski at a variety of academic institutions from 1890 onwards. Numerous aspects of reality are discussed in an effort to form a unified conception of it, from the material world through to abstract spirituality. This book will be of value to anyone with an interest in metaphysics and the development (...) of philosophy. (shrink)

Aristotle has arguably been the most influential of all philosophers. This selection of works by Aristotle, along with essays by Aristotle scholar Anthony Kenny, traces the philosopher's profound influence throughout the ages. It covers in-depth his ethics and philosophy of mind and shows how they provided the framework for fruitful developments in the Middle Ages as well as in the present day. It also includes various contributions to the most recent form of Aristotelian scholarship: computer-assisted stylometry. Anyone who has (...) ever been fascinated by Aristotle's brilliant insight and intellectual legacy will be delighted with this engaging collection. (shrink)

Transcription phonétique des grands corpus littéraires. Les règles du jeu Le perfectionnement des phonétiseurs permet aujourd'hui d'envisager la transcription phonétique de grands ensembles textuels et, par conséquent, de doter la stylométrie de nouvelles capacités dans le domaine de l'analyse des effets sonores. Cet article montre, sur l'exemple d'une étude de La Règle du jeu de Michel Leiris menée à l'aide de LAIPTTS-SpeechMill (Université de Lausanne) et Mbrola (Faculté Polytechnique de Mons), quelles procédures et quelles précautions on se doit d'associer à (...) de telles entreprises. Le repérage et l’étude des allitérations et des assonances, des homophones, la détermination de la tonalité phonique d’une partie du texte montrent tout à la fois les perspectives et les limites de ce type d'approche du texte littéraire. (shrink)

Transcription phonétique des grands corpus littéraires. Les règles du jeu Le perfectionnement des phonétiseurs permet aujourd'hui d'envisager la transcription phonétique de grands ensembles textuels et, par conséquent, de doter la stylométrie de nouvelles capacités dans le domaine de l'analyse des effets sonores. Cet article montre, sur l'exemple d'une étude de La Règle du jeu de Michel Leiris menée à l'aide de LAIPTTS-SpeechMill (Université de Lausanne) et Mbrola (Faculté Polytechnique de Mons), quelles procédures et quelles précautions on se doit d'associer à (...) de telles entreprises. Le repérage et l’étude des allitérations et des assonances, des homophones, la détermination de la tonalité phonique d’une partie du texte montrent tout à la fois les perspectives et les limites de ce type d'approche du texte littéraire. (shrink)

Introduction -- An improbable alliance : Peter Wollen's "The auteur theory" -- Visual stylometry : Barry Salt's "Statistical style analysis of motion pictures" -- Between Shakespeare and Sirk : Thomas Elsaesser's "Tales of sound and fury: observations on the family melodrama" -- From iconicity to semiotic articulation : Christian Metz's "cinema: language or language system?" and language and cinema -- Film as a specific signifying practice : Stephen Heath's "On screen, in frame: film and ideology" -- Against theories of (...) reflection : Laura Mulvey's "Visual pleasure and narrative cinema" -- Early cinema spectatorship : Tom Gunning's "The cinema of attraction(s): early film, its spectator, and the avant-garde" -- Another Lacan : "the universal: suture revisited" -- The death of the camera : Edward Branigan's "What is a camera?" -- Conclusion: teaching theory. (shrink)

Plato stands as the fount of our philosophical tradition, being the first Western thinker to produce a body of writing that touches upon a wide range of topics still discussed by philosophers today. In a sense he invented philosophy as a distinct subject, for although many of these topics were discussed by his intellectual predecessors and contemporaries, he was the first to bring them together by giving them a unitary treatment. This volume contains fourteen essays discussing Plato's views about knowledge, (...) reality, mathematics, politics, ethics, love, poetry, and religion. There are also analyses of the intellectual and social background of his thought, the development of his philosophy throughout his career, the range of alternative approaches to his work, and the stylometry of his writing. (shrink)

U članku se propituje autorstvo i vrijeme nastanka Ātmabodhe, poznate filozofske pjesme koja na popularan, ali i pjesnički imaginativan način razlaže glavna učenja indijske filozofske škole Advaita Vedānte. Iako se Ātmabodha tradicionalno pripisuje velikom filozofu Śaṅkari (8. stoljeće), u članku se iznose argumenti koji govore u prilog tezi da je djelo nastalo nekoliko stoljeća nakon Śaṅkare. Osim suvremene stilometrijske metode General Imposters Framework, koja ju ne prepoznaje kao Śaṅkarino djelo, Ātmabodha također ne zadovoljava Hackerov kriterij kolofona. U članku se stavlja (...) poseban naglasak na doktrinarne i terminološke osobitosti u Ātmabodhi koje pripadaju vremenu nakon Śaṅkare. Osobit je primjer shvaćanje pojma neznanja, uz uvođenje kasnijih termina i koncepata. Dostupni dokazi upućuju na to da bi djelo moglo datirati iz vremena između 11. i ranog 14. stoljeća. (shrink)

The commentary addresses philological, historical, literary, and philosophical issues raised by this Socratic dialogue. It is preceded by an introduction with sections on the life of Alcibiades and his reputation among his contemporaries; the depiction of the relationship between Alcibiades and Socrates in the Alcibiades of Aeschines of Sphettus, Xenophon's Memorabilia, and Plato; the structure of the dialogue and its treatment of self-knowledge; the authenticity of the dialogue; and the history of the text. It is followed by appendices on (...) class='Hi'>stylometry, the daimonion of Socrates, and the relationship of Spartan history to the speech of Socrates at 121a-124b. Introduction, commentary, and appendices support the authenticity of the dialogue. (shrink)

The authenticity of the Additamentum Aldinum (Sil. Pun. 8.144–223) has long been a matter of debate. While many scholars have expressed doubts that it is by Silius and suggest rather that it is from the hands of a skilful humanist, it has not, up to this time, been possible to provide solid evidence to support their intuition. This paper not only re-examines the standard arguments for and against authenticity but brings the latest computational stylometric techniques to bear on the question. (...) These analyses reveal that the style of the Additamentum differs in statistically significant terms from the rest of Silius’ Punica.1. (shrink)

Short epics in Middle High German are a challenge for author attribution procedures as they involve dealing with short texts, incomplete normalisation, and generic tests. Firstly, the paper discusses optimisation methods using basic form and grammar tags extracted from the ‘Mittelhochdeutsche Begriffsdatenbank’ (Middle High German Conceptual Database). As part of this, an evaluation test with normalised Middle High German texts is carried out where 20 texts with known authorship are used as ‘guessing texts’ and a further 19 works of the (...) same authors as ‘comparison texts’. The use of grammar tags or basic forms, instead of inflected word forms leads to a deterioration of the recognition rate and the combination of basic forms or grammar tags with word forms leads to a slight improvement. Secondly, the authorship of the ‘Halbe Birne’ will be investigated with eight texts by Konrad von Würzburg, as well as a comparative corpus of 14 tales (German ‘Mären’) and seven novels. This leads to a direct calculation of which words can be specifically ascribed to Konrad von Würzburg. This method is first evaluated by determining the distinctive words on four Konrad texts; a control test on four other Konrad texts shows that a preferred use of the distinctive words leads to a significant increase in the recognition rate. Then, a Konrad-specific vocabulary is determined on the basis of eight Konrad texts. Using these distinctive words it can finally be shown that Konrad can be attributed with some certainty as the author of the ‘Halbe Birne’. (shrink)