In this paper, we present an application for character-based guided tours on mobile devices. The application is based on the Dramatour methodology for information presentation, which incorporates a dramatic attitude in character-based presentations. The application has been developed for a historical site and is based on a virtual character, "Carletto", a spider with an anthropomorphic aspect, who engages in a dramatized presentation of the site. Content items are delivered in a location-aware fashion, relying on a wireless network infrastructure, with visitors who can stroll freely. The selection of contents keeps track of user location and of the interaction history, in order to deliver the appropriate type and quantity of informative items, and to manage the given/new distinction in discourse. The communicative strategy of the character is designed to keep it believable along the interaction with the user, while enforcing dramatization effects. The design of the communicative strategy relies on

Storytelling, especially in the form called drama, is pervasive across cultures and ages. Though much attention has been devoted to the preservation of the physical supports of drama (e.g., films and tapes), there is a widespread acknowledgement that such tangible heritage is the expression of an intangible notion of drama. This paper introduces the drama as a form of intangible cultural heritage and presents a solution for its preservation in terms of a formal encoding through a computational ontology.After the review of a formal representation of drama, called Drammar, developed in previous works, we show how an abstraction of drama can be encoded into a digital item. We also show how the method proposed is compliant with the major initiatives for the documentation of cultural heritage, namely CIDOC-CRM and FRBR. Finally, we test the applicability of our solution by showing how the major tenets of two well-known theories of drama can be encoded in Drammar and presenting the results of a focus group of drama scholars and practitioners who have accessed the encoding through a visualization system. The encoding and visualization system have turned out to be a promising support for teaching and investigating drama.

Abstract. This paper presents an ontological approach to the domain of drama. After a description of the drama domain in a cross-cultural and media setting, we introduce the ontology Drammar. Drammar consists of two components, encoding respectively the conceptual model and the SWRL rules. The conceptual model, mainly grounding in AI theories, represents the major concepts of drama, such as agents, actions, plans, units, emotions and values. Then, the paper focuses on the rule component that augments the representation by mapping the intentions of the characters onto the actions actually performed and by appraising the emotion felt by the characters in the drama. To illustrate the functioning of the ontology we introduce a running example from an excerpt of the drama Hamlet. Finally, we carry out an evaluation of the approach on an annotation task that is relevant for drama studies research and teaching. In particular, the emotion appraisal is tested on the main characters of four dramas of di↵erent nature, by computing precision and recall results with respect to a human annotator.

'Open Data' has become very important in a wide range of fields. However for linguistics, much data is still published in proprietary, closed formats and is not made available on the web. We propose the use of linked data principles to enable language resources to be published and interlinked openly on the web, and we describe the application of this paradigm to the modeling of two resources, WordNet and the MASC corpus. Here, WordNet and the MASC corpus serve as representative examples for two major classes of linguistic resources, lexicalsemantic resources and annotated corpora, respectively.Furthermore, we argue that modeling and publishing language resources as linked data offers crucial advantages as compared to existing formalisms. In particular, it is explained how this can enhance the interoperability and the integration of linguistic resources. Further benefits of this approach include unambiguous identifiability of elements of linguistic description, the creation of dynamic, but unambiguous links between different resources, the possibility to query across distributed resources, and the availability of a mature technological infrastructure. Finally, recent community activities are described.C. Chiarcos ( )

Semantic web and ontology technologies offer cultural heritage the conceptualization of a number of domains of interest. A relevant issue in the annotation of digital heritage is the abstraction of concepts that underlie a number of cultural heritage items, conceived for different media, in libraries and collections. This is the case for a category we call dramatic items, expressed in a large number of media (e.g., novels, screenplay, stage performance, videogames, audiovisuals, the latter including feature films, TV series, music videoclips).The primary notion of story underpins the dramatic media. This paper presents an ontology for the representation of the story elements in media heritage. Story elements are employed to describe the dramatic qualities (e.g., the agents or characters of a story, their goals, their conflicts), abstracting from the specific media in which they appear. An annotation schema derived from the ontology was employed in a web platform for the annotation of the dramatic metadata on the digital heritage items (in textual and audiovisual form). Formal reasoning on the metadata representation points out a number of issues that are of interest for scholars and enthusiast of the drama cultural heritage, so are useful in research, teaching, and fruition.