While much research has been done in text-to-image synthesis, little work has been done to explore the usage of linguistic structure of the input text. Such information is even more important for story visualization since its inputs have an explicit
narrative structure that needs to be translated into an image sequence (or visual story). Prior work in this domain has shown that there is ample room for improvement in the generated image sequence in terms of visual quality, consistency and relevance. In this paper, we first explore the use of constituency parse trees using a Transformer-based recurrent architecture for encoding structured input. Second, we augment the structured input with commonsense information and study the impact of this external knowledge on the generation of visual story. Third, we also incorporate visual structure via bounding boxes and dense captioning to provide feedback about the characters/objects in generated images within a dual learning setup. We show that off-the-shelf dense-captioning models trained on Visual Genome can improve the spatial structure of images from a different target domain without needing fine-tuning. We train the model end-to-end using intra-story contrastive loss (between words and image sub-regions) and show significant improvements in visual quality. Finally, we provide an analysis of the linguistic and visuo-spatial information.
We describe a Plug-and-Play controllable language generation framework, Plug-and-Blend, that allows a human user to input multiple control codes (topics). In the context of automated story generation, this allows a human user lose or fine grained con
trol of the topics that will appear in the generated story, and can even allow for overlapping, blended topics. We show that our framework, working with different generation models, controls the generation towards given continuous-weighted control codes while keeping the generated sentences fluent, demonstrating strong blending capability.
Story generation is an open-ended and subjective task, which poses a challenge for evaluating story generation models. We present Choose Your Own Adventure, a collaborative writing setup for pairwise model evaluation. Two models generate suggestions
to people as they write a short story; we ask writers to choose one of the two suggestions, and we observe which model's suggestions they prefer. The setup also allows further analysis based on the revisions people make to the suggestions. We show that these measures, combined with automatic metrics, provide an informative picture of the models' performance, both in cases where the differences in generation methods are small (nucleus vs. top-k sampling) and large (GPT2 vs. Fusion models).
Automated storytelling has long captured the attention of researchers for the ubiquity of narratives in everyday life. The best human-crafted stories exhibit coherent plot, strong characters, and adherence to genres, attributes that current states-of
-the-art still struggle to produce, even using transformer architectures. In this paper, we analyze works in story generation that utilize machine learning approaches to (1) address story generation controllability, (2) incorporate commonsense knowledge, (3) infer reasonable character actions, and (4) generate creative language.
This research deals with time psychology in stories of the Holy Quran. It begins with
defining time psychology and shows its kinds and their reasons, from a personal and
internal time and the time of ego. Then the research moves on to reveal the ti
me
psychology in Arabic Literature and it begins with poetry. It displays some lines of verse
that illustrate the sense of time, and then it clarifies the meaning of time psychology in the
new narrative studies.
After that, the research deals with time psychology in the story of the Holy Quran
and the wrong estimate of time due to not realizing it because of the loss of loss of life, or
unconsciousness. Then it exposes some human moments of different characters from the
Holy Quran, like incidents of drowning, giving birth, moments of fear and worry, moments
of departure and meeting and the moments of determining and triumph.
The research demonstrates that the story in the Holy Quran can transmit human
feelings, explain emotions and express psychological senses and the inner depths of the
characters, using words with high level of transparency and subtlety. The words are
meaningul and carefully chosen.
So, all of that what has probably given the miraculous story of the Holy Quran it's
superiority in both it's linguistics and semantics. Also, it exceeds high above the limited
level of the human capacity.
This research studies the behavior of the soft story in RC structures using
static analysis and dynamic analysis, where studying models of RC
structures containing soft story where this story results from increased
hieght of story than the rest st
orys, was conducted static analysis using
Nonliner pushover analysis and dynamic analysis using Nonliner time
history analysis
Syrian narrative writers have used a number of symbols in
their narrative works, one of which is fire, which has been used very
flexibly. Fire stood for punishment, catharsis, fear, and desire both in
relation to the theme of the relevant story an
d its title.
The paper leaves it open for new significations for this symbol
that might appear in new meanings and forms by other narrative
writers not dealt with here.
The current research aims to find out the impact of the
employment of narrative activity in achieving the objectives of the
emotional education kindergarten child. Researcher used
experimental method to test the research hypotheses, where the
app
lication of research in the academic year (2015/2016) and
formed the research sample of 40 children from kindergarten child,
distributors into two groups: experimental and control, have been
randomly selected, where It has been applied to the experiment by
the researcher on the two groups.
This paper seeks to stress that Marlowe's Edward II is, at bottom, a tragic
story or a personal history of its hero's agonies. Therefore, it starts by
considering the dramatic genre of the chronicle play, and shows that
studying Edward II as a tra
ditional history play does not penetrate into its
design and operation. Then the paper moves to emphasize that Mortimer's
rebellion and punishment fit didactic history drama. This leads us to
explore Edward's continual endeavors to write his agonies in the form of
a tale or tragedy.
In the study, it was customary to consider
each column in the building as a cantilevered element in resisting
the lateral loads.
