Automatic Annotation of Characters’ Emotions in Stories

Lombardo, V.; Damiano, Rossana; Battaglino, Cristina; Pizzo, Antonio

doi:10.1007/978-3-319-27036-4_11

Cited by 3 publications

(1 citation statement)

References 19 publications

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“…Its consistency has been checked against the annotation of drama (i.e., the encoding in Drammar of the content of dramatic works) and the derived visualization, employed by scholars for purposes of didactics and research. introduced a graphical interface for the annotation and visualization of drama that we applied to the analysis of Stanislavski's Action Analysis in Albert et al (2016); Lombardo et al (2015b) coupled an earlier release of the ontological representation with a rule-based calculation of characters' emotions, verified against manual annotation provided by students and scholars (Lombardo et al, 2015a); proposed the use of Drammar to safeguard drama as a form of intangible cultural heritage, underlying the tangible media (Lombardo et al, 2017b). In 2018, the Drammar ontology resource was released with a conference paper (Lombardo et al, 2018), with a permanent URL address and the registration to the Linked Open Vocaularies (LOV) platform.…”

Section: Introductionmentioning

confidence: 99%

The ontology of drama

Damiano

Lombardo

Pizzo

2019

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In this paper, we describe the ontology of drama called Drammar. Pervasive in old and new media, and relevant from a multi-disciplinary perspective that ranges from literary criticism and semiotics to aesthetics and psychology, the manifestations of drama are ubiquitous in today's culture, overcoming the boundaries of genres and formats. Drawing from an extensive survey of the literature on drama, Drammar formalizes the elements of drama in a media-and task-independent way. Drammar is encoded in OWL2 to provide an interoperable formal model for representing and studying drama in a variety of systems. Issued by a research initiative carried out in an interdisciplinary way over a decade, Drammar abstracts from the media and languages by which drama is conveyed, providing a formal systematization of the core notions about drama that leverages the theories and models of agency in the tradition of Artificial Intelligence. In this paper, we illustrate the ontology, describing its design and motivations through examples and use cases.

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Section: Introductionmentioning

confidence: 99%

The ontology of drama

Damiano

Lombardo

Pizzo

2019

Self Cite

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Studying and designing emotions in live interactions with the audience

Damiano

Lombardo

Monticone

et al. 2020

Multimed Tools Appl

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PyPlutchik: Visualising and comparing emotion-annotated corpora

2021

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The increasing availability of textual corpora and data fetched from social networks is fuelling a huge production of works based on the model proposed by psychologist Robert Plutchik, often referred simply as the “Plutchik Wheel”. Related researches range from annotation tasks description to emotions detection tools. Visualisation of such emotions is traditionally carried out using the most popular layouts, as bar plots or tables, which are however sub-optimal. The classic representation of the Plutchik’s wheel follows the principles of proximity and opposition between pairs of emotions: spatial proximity in this model is also a semantic proximity, as adjacent emotions elicit a complex emotion (a primary dyad) when triggered together; spatial opposition is a semantic opposition as well, as positive emotions are opposite to negative emotions. The most common layouts fail to preserve both features, not to mention the need of visually allowing comparisons between different corpora in a blink of an eye, that is hard with basic design solutions. We introduce PyPlutchik the Pyplutchik package is available as a Github repository (http://github.com/alfonsosemeraro/pyplutchik) or through the installation commands pip or conda. For any enquiry about usage or installation feel free to contact the corresponding author, a Python module specifically designed for the visualisation of Plutchik’s emotions in texts or in corpora. PyPlutchik draws the Plutchik’s flower with each emotion petal sized after how much that emotion is detected or annotated in the corpus, also representing three degrees of intensity for each of them. Notably, PyPlutchik allows users to display also primary, secondary, tertiary and opposite dyads in a compact, intuitive way. We substantiate our claim that PyPlutchik outperforms other classic visualisations when displaying Plutchik emotions and we showcase a few examples that display our module’s most compelling features.

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Automatic Annotation of Characters’ Emotions in Stories

Cited by 3 publications

References 19 publications

The ontology of drama

The ontology of drama

Studying and designing emotions in live interactions with the audience

PyPlutchik: Visualising and comparing emotion-annotated corpora

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