This paper introduces a long-range multiple-choice Question Answering (QA) dataset, based on full-length fiction book texts. The questions are formulated as 10-way multiple-choice questions, where the task is to select the correct character name give
n a character description, or vice-versa. Each character description is formulated in natural text and often contains information from several sections throughout the book. We provide 20,000 questions created from 10,000 manually annotated descriptions of characters from 177 books containing 152,917 words on average. We address the current discourse regarding dataset bias and leakage by a simple anonymization procedure, which in turn enables interesting probing possibilities. Finally, we show that suitable baseline algorithms perform very poorly on this task, with the book size itself making it non-trivial to attempt a Transformer-based QA solution. This leaves ample room for future improvement, and hints at the need for a completely different type of solution.
The displacement method of the important methods in stylistic studies and modern
linguistics; it is based onDepart from the familiar and ordinary language to create beauty
creative outlines a literary text by the poet and increase its luster, and i
ts showText
aesthetic statement and the possibility of the poet and his abilities shift in his words, which
the recipient is a matter of contemplation and interpretation Revealed in a metaphorical
sense, it stands on aesthetic and poetic language.
And here it highlights the role of the imagination in the production of diverse literary
images, since the poet called free rein to his imagination in the generation of meanings
andInnovation, and this is done in the familiar skip weave method, and breach of the
modest traditions between language users,
If the purpose of the distortion of the text is to create beauty and stylistic innovation
that leaves an impact on its recipients, which confirms Position
Poetic language; Art is not art until breathing shed from the standard, and even filled
his intention of violating the order and violation of norms,
That's what the beauty of D poets, literary texts semantic my style.
This paper seeks to offer the possibility of comparing
Hawthorn's The Scarlet Letter both in fiction and movie. The main
focus will be on the similarities and differences between the novel
and the film. It will also underpin the falsification of c
onsciousness
initiated by the director of the film, Roland Joffé, who directed and
produced a twisted version that has distorted that masterpiece.
The adaptation, directed and produced, is in fact far from the
factual novel, especially in terms of plot, themes, characters, the
author's point of view, symbols and allegory. This paper deals with
Roland Joffé's film despite the fact that there are many others, but
the researcher deemed that Joffé's is more challenging than the
others. Finally, it can be claimed that this adaptation adopted in
this study has been deformed for implicit reasons known only by
the producer.
This research aims to reveal the effectiveness of the fiction entrance in the development of some health skills in children with acoustic disabilities in kindergarten at the age 5-6 years, and to achieve the objective of this research was the prepara
tion of a program of early intervention is based on the use of the fiction entrance in order to develop some of the skills of health and safety at children with acoustic disabilities in kindergarten. A photographed and colored scale was prepared to measure their health of the five dimensions (skill care of the members of the senses, the skill of using toiletries, the skill of healthy food choices, skill into account some of the healthy habits, and skill of audio aids care).
D.H. Lawrence used the elements of suspense and romance
borrowed from popular forms of literature but to different ends other
than keeping his audience enthralled to an old fashioned formula. In the
penultimate chapter of The Virgin and the Gipsy,
the figure of the
Damsel in distress as embodied in his female character Yvette is
involved in a life threatening situation whereas his male character, the
Gipsy, is proactively involved in rescuing her life. However, the end
result of the rescue scene is to see Yvette through on her way to selfrealization.
Conversely the male figure dwindles into oblivion at the end
of the novella when his mission as a catalyst is over. Nothing remains of
the male persona except the prosaically English name of Joe Boswell at
the end of a letter addressed to Yvette. The dark figure of the exotic
Gipsy is reduced to a name, which Yvette realizes, to her surprise, he has
had all the time.
