The increasing popularity of voice-based personal assistants provides new opportunities for conversational recommendation. One particularly interesting area is movie recommendation, which can benefit from an open-ended interaction with the user, thro
ugh a natural conversation. We explore one promising direction for conversational recommendation: mapping a conversational user, for whom there is limited or no data available, to most similar external reviewers, whose preferences are known, by representing the conversation as a user's interest vector, and adapting collaborative filtering techniques to estimate the current user's preferences for new movies. We call our proposed method ConvExtr (Conversational Collaborative Filtering using External Data), which 1) infers a user's sentiment towards an entity from the conversation context, and 2) transforms the ratings of similar'' external reviewers to predict the current user's preferences. We implement these steps by adapting contextual sentiment prediction techniques, and domain adaptation, respectively. To evaluate our method, we develop and make available a finely annotated dataset of movie recommendation conversations, which we call MovieSent. Our results demonstrate that ConvExtr can improve the accuracy of predicting users' ratings for new movies by exploiting conversation content and external data.
the aim of
this paper is to shed light on Shakespeare’s translation into Arabic.
The research corpus consists of Shakespeare’s play Antony and
Cleopatra and its translations into Arabic. So some examples from
the original text are chosen and comp
ared with their Arabic
counterparts to show how the Shakespearean text is transferred into
Arabic as both form and content.
The purpose of this Aldrashala identify the image Alnmtihalta Tardhadaramavi
Syrian television and be Aldrashmn community group of serials
Aldramahalsorahastkhaddmt Albageshmenhj content analysis to identify the stereotype
offered by those soap op
eras and disclosure of background form a mirror image in a TV
drama and the circumstances that contributed to the pull that image in a way that a certain
order to ascertain health or wrong hypotheses that will put them and after analysis of the
data shows that were stained traditional stereotype for the bulk of the dramas of the Syrian
and confined women in the triangular corner of the female parent wife wear it Our lady of
the kitchen and interested bellies family-sided interested offers fashion on the other hand ،a
woman that fail to be typical wife in case went to work and participate in building the
Alizma.
Saadalla Wannous had no embarrassment in expressing the individual tendencies and
inclinations which he used to consider bourgeoisie matters. He started to feel with a kind of
freedom , which he always believed in, which was the substantial conditi
on for the
realization of the Stage efficiency, and which he missed in his previous creativities.
Previously, he used to impose on himself self-censorship which obliged him to overpass
what is personal and individual. That is why we see him in his Play (Tokous Alisharat Wa
Altahawolat) (Rites of Signs and Conversions) moves from the general condition to the
individual structure within the context of the community. He strictly refers in this Play to
the concept of the individual freedom through the psychological structure and subduing the
will potential in the human self. Thus, he made his characters express their inner selves far
from the social preaching, that lead towards their fate.
This paper views folk literature as one of acceptability and of rejection at the same
time. It is also concerned with the dramatic dimension of the art of lullaby in classical
Arabic literature because choreography was associated with the art of si
nging all along,
and lullabies are considered an example of their combination, because they were arranged
in accordance with a choreographic effect. And, since movement is the basis of drama,
there follows the relation between lullabies and drama.
This paper examines this subject in terms of the following mechanism:
-Identifying the terms which will form the pivot of this paper.
- The dramatic content of these lullabies
- The characteristics of dramatic discourse
This study stems from the idea that every discourse has a counter- discourse, and that
every thought has its counter–thought. Thus, what is the relation between voice and
thought on the one hand, and what are the dramatic discursive interactions in these
lullabies on the other?
We can notice nowadays that globalization, with its own variety of means, has worked and is still working to spread chaos and violence and to destroy affiliation through its project oriented against women, youth and childhood. Globalization is trying
to uproot their identity and affiliations and subordinate them to the market economy that disregards the sense of nationalism and replace it with a bank account and credit card number. It also works to objectify our humanity and change it into a commodity to change the individual into a domesticated human being in rigid molds, wasting his/her existence and transforming them into a tool.
The image of female body is no more than an advertising tool, used for the promotion of various merchandise through focusing on the instinctive sexual aspects. This transforms women into a myth with multiple connotations (distraction and "breastfeeding" entertainment, violence and delinquency, excitement of physical desires, etc). Has TV drama on Syrian TV satellite channels contributed to the promotion of this image? Or has it worked to change this image and reduce the phenomenon of domestic violence actually practised? What are the recommendations and suggestions that can enrich this research and provide solutions regarding the phenomenon of domestic violence against women in our society? .
