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The authorship of Hebrews has been a point of contention for scholars for the past two millennia. While the epistle is traditionally attributed to Paul, many scholars assert that it carries thematic, structural, and stylistic differences from the remainder of his extant epistles; therefore, many other possible authors have been proposed. Of these, only Luke has other New Testament writings. Therefore, this project conducts a statistical comparison of Hebrews to the Pauline and Lukan corpora using stylometric authorial analysis methods. This analysis demonstrates that Hebrews is stylistically closer to Lukan literature than Pauline (but not to a significant degree), and thus concludes that Luke is a possible but not definite author (or possibly a co-author).

Little was known about Lope’s role as a collaborative author of comedies, beyond a few mentions and conjectures about his involvement in half a dozen preserved plays, with special focus on the one entitled Los terceros de San Francis-co, which he would have written together with Pérez de Montalbán. We have used ETSO’s stylometric analysis to throw some light on this matter, with results that do not detect Lope’s lexical stamp in any of the plays mentioned so far, but those of other writers in several of them. Particularly interesting is the one that points to Tirso de Molina as the sole author of the aforementioned Franciscan comedy. And it has been very surprising to verify that this Lope’s stamp is found in Palmerín de Oliva, traditionally attributed exclusively to Montalbán, but that everything points to the fact that it was written in collaboration with Fénix, as is also supported by the philological analyses to which it has been subjected, once this was brought to our attention, Poco sabíamos de la faceta de Lope como autor de comedias en colaboración, más allá de algunas menciones y de conjeturas sobre su posible intervención en media docena de piezas conservadas, con especial insistencia en la titulada Los terceros de San Francisco, que habría escrito con Pérez de Montalbán. Nos hemos servido de los análisis estilométricos de ETSO para buscar algo de luz sobre esta materia, con resultados que no detectan la marca léxica de Lope en ninguna de las señaladas hasta ahora, y sí las de otros dramaturgos en varias de ellas. Particularmente llamativa es la que señala a Tirso de Molina como responsable único de la comedia franciscana antedicha. Y tan sorprendente ha sido comprobar que esa marca lopiana sí se encuentra en Palmerín de Oliva, tradicionalmente atribuida en exclusiva a Montalbán, pero que todo apunta a que fue escrita en colaboración con el Fénix, como respaldan también los análisis filológicos a los que se la ha sometido, una vez puestos sobre aviso

This doctoral thesis addresses the analysis of the apocryphal writings of Antonio Machado by applying tools from the domains of corpus stylistics and stylometry. Through the development of a corpus apocryphal writings of Juan de Mairena in the press, a series of both quantitative and qualitative approaches are undertaken to showcase the peculiarities of the textual and discursive configuration of this writing in comparison with the rest of Antonio Machado's prose work. This thesis aims to comment on the origins and function of the Machadian apocrypha, serving as an update of the most relevant ideas from previous studies on the subject. The case at hand represents one of the most fascinating in Spanish literature. We believe that the explanation of these figures can benefit greatly from the application of the latest tools that research advances in the field of Digital Humanities has to offer to literary studies. Results seem to point to the presence of an evolution over time in the style of Antonio Machado's prose, and to the importance of fragmentation in the discourse of the apocryphal figures, in particular, in the texts of Juan de Mairena., Esta tesis doctoral aborda el análisis de la escritura apócrifa de Antonio Machado aplicando herramientas de la estilística de corpus y la estilometría. A través de la elaboración de un corpus de las series periodísticas del apócrifo Juan de Mairena se realizan una serie de aproximaciones tanto cuantitativas como cualitativas que buscan mostrar las particularidades de la configuración textual y discursiva de esta escritura en comparación con el resto de la producción en prosa de Antonio Machado. A lo largo del desarrollo del trabajo se pretende realizar un comentario de la génesis y la función de los apócrifos machadianos que sirva como actualización de las ideas más relevantes de los trabajos anteriores al respecto. El caso de la escritura de los apócrifos representa uno de los más fascinantes en la literatura española. Creemos que la explicación de estas figuras puede enriquecerse enormemente con la aplicación de las técnicas que los avances en el campo de las Humanidades Digitales ofrecen al campo del estudio literario. Los resultados parecen apuntar a la presencia de una evolución a lo largo del tiempo en el estilo de la prosa de Antonio Machado y a la importancia de la fragmentación en el discurso de las figuras apócrifas y, en particular, de los textos de las series de Juan de Mairena., Escuela de Doctorado, Doctorado en Español: Lingüística, Literatura y Comunicación

Classic literature is rich, be it linguistically, historically, or culturally, making it valuable for future studies. Consequently, this project chose a set of 48 classic books to conduct a stylometric analysis on the defined set of books, adopting an approach used by a related work to divide the books into text segments, quantify the resulting text segments, and analyze the books using the quantified values to understand the linguistic attributes of the books. Apart from the latter, this project conducted different classification tasks for other objectives. In one respect, the study used the quantified values of the text segments of the books for classification tasks using advanced models like LightGBM and TabNet to assess the application of this approach in authorship attribution. From another perspective, the study utilized a State-Of-The-Art model, namely, RoBERTa for classification tasks using the segmented texts of the books instead to evaluate the performance of the model in authorship attribution. The results uncovered the characteristics of the books to a reasonable degree. Regarding the authorship attribution tasks, the results suggest that segmenting and quantifying text using stylometric analysis and supervised machine learning algorithms is practical in such tasks. This approach, while showing promise, may still require further improvements to achieve optimal performance. Lastly, RoBERTa demonstrated high performance in authorship attribution tasks.

Classic literature is rich, be it linguistically, historically, or culturally, making it valuable for future studies. Consequently, this project chose a set of 48 classic books to conduct a stylometric analysis on the defined set of books, adopting an approach used by a related work to divide the books into text segments, quantify the resulting text segments, and analyze the books using the quantified values to understand the linguistic attributes of the books. Apart from the latter, this project conducted different classification tasks for other objectives. In one respect, the study used the quantified values of the text segments of the books for classification tasks using advanced models like LightGBM and TabNet to assess the application of this approach in authorship attribution. From another perspective, the study utilized a State-Of-The-Art model, namely, RoBERTa for classification tasks using the segmented texts of the books instead to evaluate the performance of the model in authorship attribution. The results uncovered the characteristics of the books to a reasonable degree. Regarding the authorship attribution tasks, the results suggest that segmenting and quantifying text using stylometric analysis and supervised machine learning algorithms is practical in such tasks. This approach, while showing promise, may still require further improvements to achieve optimal performance. Lastly, RoBERTa demonstrated high performance in authorship attribution tasks.

Since R. L. Kennedy’s study (1939), the authorship of El caballero has been under some suspicion. That scholar noted then that some metrical features of the play did not seem particularly moretian to her: the percentage of redondillas andsilvas, the use of décimas, and the fact that only one act ends in romance. It seems appropriate to review the abundant critical sources and to discuss and refute in de-tail professor Kennedy’s observations, Desde el estudio de R. L. Kennedy (1939) la autoría de El caballero ha estado bajo cierta sospecha. Esa estudiosa norteamericana anotó entonces que algunos rasgos métricos de esa pieza no le parecían especialmente moretianos: el porcentaje de redondillas y silvas, la presencia de décimas y el hecho de que en ella solo un acto termine en romance. Cumple repasar las numerosas fuentes críticas sobre la obra y debatir y refutar en detalle las observaciones de la profesora Kennedy.

Denna rapport analyserar och testar olika metoder som syftar till att särskiljamänskligt genererade lösningar på uppgifter och texter från de som genereras avartificiell intelligens. På senare tid har användningen av artificiell intelligens setten betydande ökning, särskilt bland studenter. Syftet med denna studie är attavgöra om det för närvarande är möjligt att upptäcka fusk från högskolestudenterinom elektroteknik som använder sig av AI. I rapporten testas lösningar påuppgifter och texter genererade av programmet ChatGPT med hjälp av en generellmetod och externa AI-verktyg. Undersökningen omfattar områdena matematik,programmering och skriven text. Resultatet av undersökningen tyder på att detinte är möjligt att upptäcka fusk med hjälp av AI i ämnena matematik ochprogrammering. Dock när det gäller text kan i viss utsträckning fusk vidanvändning av en AI upptäckas., This report analyzes and tests various methods aimed at distinguishinghuman-generated solutions to tasks and texts from those generated by artificialintelligence. Recently the use of artificial intelligence has seen a significantincrease, especially among students. The purpose of this study is to determinewhether it is currently possible to detect if a college student in electricalengineering is using AI to cheat. In this report, solutions to tasks and textsgenerated by the program ChatGPT are tested using a general methodology andexternal AI-based tools. The research covers the areas of mathematics,programming and written text. The results of the investigation suggest that it is notpossible to detect cheating with the help of an AI in the subjects of mathematicsand programming. In the case of text, cheating by using an AI can be detected tosome extent.

Denna rapport analyserar och testar olika metoder som syftar till att särskiljamänskligt genererade lösningar på uppgifter och texter från de som genereras avartificiell intelligens. På senare tid har användningen av artificiell intelligens setten betydande ökning, särskilt bland studenter. Syftet med denna studie är attavgöra om det för närvarande är möjligt att upptäcka fusk från högskolestudenterinom elektroteknik som använder sig av AI. I rapporten testas lösningar påuppgifter och texter genererade av programmet ChatGPT med hjälp av en generellmetod och externa AI-verktyg. Undersökningen omfattar områdena matematik,programmering och skriven text. Resultatet av undersökningen tyder på att detinte är möjligt att upptäcka fusk med hjälp av AI i ämnena matematik ochprogrammering. Dock när det gäller text kan i viss utsträckning fusk vidanvändning av en AI upptäckas., This report analyzes and tests various methods aimed at distinguishinghuman-generated solutions to tasks and texts from those generated by artificialintelligence. Recently the use of artificial intelligence has seen a significantincrease, especially among students. The purpose of this study is to determinewhether it is currently possible to detect if a college student in electricalengineering is using AI to cheat. In this report, solutions to tasks and textsgenerated by the program ChatGPT are tested using a general methodology andexternal AI-based tools. The research covers the areas of mathematics,programming and written text. The results of the investigation suggest that it is notpossible to detect cheating with the help of an AI in the subjects of mathematicsand programming. In the case of text, cheating by using an AI can be detected tosome extent.

Claramonte is one of the playwrights who has had the most unusual fate in our theatrical heritage. Reviled by early scholars as a plagiarist, recaster and, ultimately, a second-order author, in recent decades he has re-emerged as a possible author of capital works of our theatre. Using stylometric techniques that have been proven to be effective and less contaminated by previous judgments, we have analyzed an extensive corpus of Golden Age theatre (2.800 plays) in order to isolate his authorial style and form a new repertoire. After the tests, up to 39 comedias and 7 autos can be entirely or partially attributed to the dramatist. We, thus, reconfirm the authorship of texts that were not previously questioned (De lo vivo a lo pintado, Deste agua no beberé, La infelice Dorotea, etc.), support recent attributions (La Estrella de Sevilla, Tan largo me lo fiais, etc.), identify up to 16 new attributions that had not been previously recognized (Allá darás, rayo, De un yerro nacen mil, La lindona de Galicia, etc.), and dismiss some risky attributions (El alcalde de Zalamea, El condenado por desconfiado, El médico de su honra, etc.). The complete reports on each of the texts can be found at https://etso.es/., Claramonte es uno de los dramaturgos que más extraña suerte ha corrido de nuestro patrimonio teatral. Vilipendiado por los primeros estudiosos como plagiario, refundidor y, en definitiva, autor de segundo orden, en las últimas décadas ha resurgido como posible responsable de obras capitales de nuestro teatro. A través del empleo de técnicas estilométricas, de eficacia contrastada y poco contaminadas por juicios previos, hemos analizado un extenso corpus de teatro del Siglo de Oro (2.800 obras) con el fin de aislar su huella autoral y conformar un repertorio seguro. Tras las pruebas, hasta 39 comedias y 7 autos pueden relacionarse de forma total o parcial con el dramaturgo. Se respalda la autoría de textos indubitados (De lo vivo a lo pintado, Deste agua no beberé, La infelice Dorotea, etc.), se apoyan recientes atribuciones (La Estrella de Sevilla, Tan largo me lo fiais, etc.), se muestran hasta 16 atribuciones novedosas, nunca antes apuntadas (Allá darás, rayo, De un yerro nacen mil, La lindona de Galicia, etc.), y se desestiman también algunas arriesgadas atribuciones (El alcalde de Zalamea, El condenado por dessconfiado, El médico de su honra, etc.). Los informes completos sobre cada uno de los textos pueden consultarse en https://etso.es/.

The dramatic text of El conde de Sex presents a complex history of attributions that appears to have been resolved in recent times with the designation of Antonio Coello as the true author of the play. However, the reasons provided are not entirely conclusive. The objective of this work will be to trace the different testimonies and analyze the editorial trajectory that the comedy has presented since its first publication in 1638 to verify the validity of the premise. To accomplish this, we will employ the different databases integrated in the ASODAT project, which will be necessary in shedding new light on the matter at hand., El texto dramático de El conde de Sex presenta una compleja historia de atribuciones que parece haberse resuelto en tiempos recientes con la designación de Antonio Coello como el verdadero autor de la pieza. No obstante, las razones presentadas no son del todo concluyentes. El objetivo de este trabajo será rastrear los distintos testimonios y analizar la trayectoria editorial que la comedia ha presentado desde su primera publicación en 1638 para comprobar la validez de la premisa. Para llevar a cabo esta labor, contaremos con las distintas bases de datos integradas en el proyecto ASODAT, que serán necesarias para arrojar nueva luz al asunto que nos ocupa.

In this paper we analyze the authorship of Las burlas y enredos de Benito, a Spanish play from the end of the sixteenth century that has been attributed with many doubts to playwrights such as Lope de Vega or Góngora, among others. Based on a detailed study of a very early manuscript copy, the information and references offered by several databases and digital tools (CATCOM, MANOS, ETSO), and a variety of metric, linguistic, and orthoepic approaches, we propose a new name as the probable author of this play: the Sevillian playwright Cepeda. This new attribution allows us to cast light on new aspects of Las burlas y enredos de Benito and evaluate its relevance in the context of Spanish theater at the end of the sixteenth century, En este artículo abordamos el análisis de la autoría de una comedia de finales del siglo XVI, Las burlas y enredos de Benito, que se ha atribuido con muchas dudas a dramaturgos como Lope de Vega o Góngora, entre otros. A partir del estudio detallado de una copia manuscrita muy temprana, de las indicaciones e información que nos proporcionan una serie de bases de datos y herramientas digitales (CATCOM, MANOS, ETSO), y de diversos análisis métricos, lingüísticos y ortológicos, proponemos un nuevo nombre como probable autor de esta comedia, el sevillano Cepeda. Esta nueva atribución nos permite iluminar nuevos aspectos de Las burlas y enredos de Benito y valorar su relevancia en el panorama teatral de finales del siglo XVI.

Claramonte is one of the playwrights who has had the most unusual fate in our theatrical heritage. Reviled by early scholars as a plagiarist, recaster and, ultimately, a second-order author, in recent decades he has re-emerged as a possible author of capital works of our theatre. Using stylometric techniques that have been proven to be effective and less contaminated by previous judgments, we have analyzed an extensive corpus of Golden Age theatre (2.800 plays) in order to isolate his authorial style and form a new repertoire. After the tests, up to 39 comedias and 7 autos can be entirely or partially attributed to the dramatist. We, thus, reconfirm the authorship of texts that were not previously questioned (De lo vivo a lo pintado, Deste agua no beberé, La infelice Dorotea, etc.), support recent attributions (La Estrella de Sevilla, Tan largo me lo fiais, etc.), identify up to 16 new attributions that had not been previously recognized (Allá darás, rayo, De un yerro nacen mil, La lindona de Galicia, etc.), and dismiss some risky attributions (El alcalde de Zalamea, El condenado por desconfiado, El médico de su honra, etc.). The complete reports on each of the texts can be found at https://etso.es/., Claramonte es uno de los dramaturgos que más extraña suerte ha corrido de nuestro patrimonio teatral. Vilipendiado por los primeros estudiosos como plagiario, refundidor y, en definitiva, autor de segundo orden, en las últimas décadas ha resurgido como posible responsable de obras capitales de nuestro teatro. A través del empleo de técnicas estilométricas, de eficacia contrastada y poco contaminadas por juicios previos, hemos analizado un extenso corpus de teatro del Siglo de Oro (2.800 obras) con el fin de aislar su huella autoral y conformar un repertorio seguro. Tras las pruebas, hasta 39 comedias y 7 autos pueden relacionarse de forma total o parcial con el dramaturgo. Se respalda la autoría de textos indubitados (De lo vivo a lo pintado, Deste agua no beberé, La infelice Dorotea, etc.), se apoyan recientes atribuciones (La Estrella de Sevilla, Tan largo me lo fiais, etc.), se muestran hasta 16 atribuciones novedosas, nunca antes apuntadas (Allá darás, rayo, De un yerro nacen mil, La lindona de Galicia, etc.), y se desestiman también algunas arriesgadas atribuciones (El alcalde de Zalamea, El condenado por dessconfiado, El médico de su honra, etc.). Los informes completos sobre cada uno de los textos pueden consultarse en https://etso.es/.

In this paper we analyze the authorship of Las burlas y enredos de Benito, a Spanish play from the end of the sixteenth century that has been attributed with many doubts to playwrights such as Lope de Vega or Góngora, among others. Based on a detailed study of a very early manuscript copy, the information and references offered by several databases and digital tools (CATCOM, MANOS, ETSO), and a variety of metric, linguistic, and orthoepic approaches, we propose a new name as the probable author of this play: the Sevillian playwright Cepeda. This new attribution allows us to cast light on new aspects of Las burlas y enredos de Benito and evaluate its relevance in the context of Spanish theater at the end of the sixteenth century, En este artículo abordamos el análisis de la autoría de una comedia de finales del siglo XVI, Las burlas y enredos de Benito, que se ha atribuido con muchas dudas a dramaturgos como Lope de Vega o Góngora, entre otros. A partir del estudio detallado de una copia manuscrita muy temprana, de las indicaciones e información que nos proporcionan una serie de bases de datos y herramientas digitales (CATCOM, MANOS, ETSO), y de diversos análisis métricos, lingüísticos y ortológicos, proponemos un nuevo nombre como probable autor de esta comedia, el sevillano Cepeda. Esta nueva atribución nos permite iluminar nuevos aspectos de Las burlas y enredos de Benito y valorar su relevancia en el panorama teatral de finales del siglo XVI.

The dramatic text of El conde de Sex presents a complex history of attributions that appears to have been resolved in recent times with the designation of Antonio Coello as the true author of the play. However, the reasons provided are not entirely conclusive. The objective of this work will be to trace the different testimonies and analyze the editorial trajectory that the comedy has presented since its first publication in 1638 to verify the validity of the premise. To accomplish this, we will employ the different databases integrated in the ASODAT project, which will be necessary in shedding new light on the matter at hand., El texto dramático de El conde de Sex presenta una compleja historia de atribuciones que parece haberse resuelto en tiempos recientes con la designación de Antonio Coello como el verdadero autor de la pieza. No obstante, las razones presentadas no son del todo concluyentes. El objetivo de este trabajo será rastrear los distintos testimonios y analizar la trayectoria editorial que la comedia ha presentado desde su primera publicación en 1638 para comprobar la validez de la premisa. Para llevar a cabo esta labor, contaremos con las distintas bases de datos integradas en el proyecto ASODAT, que serán necesarias para arrojar nueva luz al asunto que nos ocupa.

Claramonte is one of the playwrights who has had the most unusual fate in our theatrical heritage. Reviled by early scholars as a plagiarist, recaster and, ultimately, a second-order author, in recent decades he has re-emerged as a possible author of capital works of our theatre. Using stylometric techniques that have been proven to be effective and less contaminated by previous judgments, we have analyzed an extensive corpus of Golden Age theatre (2.800 plays) in order to isolate his authorial style and form a new repertoire. After the tests, up to 39 comedias and 7 autos can be entirely or partially attributed to the dramatist. We, thus, reconfirm the authorship of texts that were not previously questioned (De lo vivo a lo pintado, Deste agua no beberé, La infelice Dorotea, etc.), support recent attributions (La Estrella de Sevilla, Tan largo me lo fiais, etc.), identify up to 16 new attributions that had not been previously recognized (Allá darás, rayo, De un yerro nacen mil, La lindona de Galicia, etc.), and dismiss some risky attributions (El alcalde de Zalamea, El condenado por desconfiado, El médico de su honra, etc.). The complete reports on each of the texts can be found at https://etso.es/., Claramonte es uno de los dramaturgos que más extraña suerte ha corrido de nuestro patrimonio teatral. Vilipendiado por los primeros estudiosos como plagiario, refundidor y, en definitiva, autor de segundo orden, en las últimas décadas ha resurgido como posible responsable de obras capitales de nuestro teatro. A través del empleo de técnicas estilométricas, de eficacia contrastada y poco contaminadas por juicios previos, hemos analizado un extenso corpus de teatro del Siglo de Oro (2.800 obras) con el fin de aislar su huella autoral y conformar un repertorio seguro. Tras las pruebas, hasta 39 comedias y 7 autos pueden relacionarse de forma total o parcial con el dramaturgo. Se respalda la autoría de textos indubitados (De lo vivo a lo pintado, Deste agua no beberé, La infelice Dorotea, etc.), se apoyan recientes atribuciones (La Estrella de Sevilla, Tan largo me lo fiais, etc.), se muestran hasta 16 atribuciones novedosas, nunca antes apuntadas (Allá darás, rayo, De un yerro nacen mil, La lindona de Galicia, etc.), y se desestiman también algunas arriesgadas atribuciones (El alcalde de Zalamea, El condenado por dessconfiado, El médico de su honra, etc.). Los informes completos sobre cada uno de los textos pueden consultarse en https://etso.es/.

In this paper we analyze the authorship of Las burlas y enredos de Benito, a Spanish play from the end of the sixteenth century that has been attributed with many doubts to playwrights such as Lope de Vega or Góngora, among others. Based on a detailed study of a very early manuscript copy, the information and references offered by several databases and digital tools (CATCOM, MANOS, ETSO), and a variety of metric, linguistic, and orthoepic approaches, we propose a new name as the probable author of this play: the Sevillian playwright Cepeda. This new attribution allows us to cast light on new aspects of Las burlas y enredos de Benito and evaluate its relevance in the context of Spanish theater at the end of the sixteenth century, En este artículo abordamos el análisis de la autoría de una comedia de finales del siglo XVI, Las burlas y enredos de Benito, que se ha atribuido con muchas dudas a dramaturgos como Lope de Vega o Góngora, entre otros. A partir del estudio detallado de una copia manuscrita muy temprana, de las indicaciones e información que nos proporcionan una serie de bases de datos y herramientas digitales (CATCOM, MANOS, ETSO), y de diversos análisis métricos, lingüísticos y ortológicos, proponemos un nuevo nombre como probable autor de esta comedia, el sevillano Cepeda. Esta nueva atribución nos permite iluminar nuevos aspectos de Las burlas y enredos de Benito y valorar su relevancia en el panorama teatral de finales del siglo XVI.

The dramatic text of El conde de Sex presents a complex history of attributions that appears to have been resolved in recent times with the designation of Antonio Coello as the true author of the play. However, the reasons provided are not entirely conclusive. The objective of this work will be to trace the different testimonies and analyze the editorial trajectory that the comedy has presented since its first publication in 1638 to verify the validity of the premise. To accomplish this, we will employ the different databases integrated in the ASODAT project, which will be necessary in shedding new light on the matter at hand., El texto dramático de El conde de Sex presenta una compleja historia de atribuciones que parece haberse resuelto en tiempos recientes con la designación de Antonio Coello como el verdadero autor de la pieza. No obstante, las razones presentadas no son del todo concluyentes. El objetivo de este trabajo será rastrear los distintos testimonios y analizar la trayectoria editorial que la comedia ha presentado desde su primera publicación en 1638 para comprobar la validez de la premisa. Para llevar a cabo esta labor, contaremos con las distintas bases de datos integradas en el proyecto ASODAT, que serán necesarias para arrojar nueva luz al asunto que nos ocupa.

Dating to the 1530s, the Latin poem Sarca was published in 1842 in Rome by Angelo Mai based on a manuscript found in Vienna. Forty years after publication, the incompatibility of this edition with the Viennese manuscript was first noticed. In the second half of the last century, a polemic began challenging the theory, previously considered certain, that Sarca’s author was Pietro Bembo. Researchers named Girolamo Fracastor, Andrea Navager and Agostino Beazzan, among others, as possible authors of the text in addition to Bembo. The question of the poem’s authorship remains unresolved to this day. The aim of this article is to analyse the turbulent and hypothesis-rich debate on the attribution of the Renaissance work. The poem has been subjected to internal criticism, i.e. inferences about the author’s person based on content analysis. Historical and bibliographical indicators of the work have also been examined. The article also attempts to answer the question of whether the latest techniques used in the analysis of the linguistic and stylistic features of the text, such as the methods of computer stylometry, could prove helpful in determining the authorship of the Sarca poem., Dating to the 1530s, the Latin poem Sarca was published in 1842 in Rome by Angelo Mai based on a manuscript found in Vienna. Forty years after publication, the incompatibility of this edition with the Viennese manuscript was first noticed. In the second half of the last century, a polemic began challenging the theory, previously considered certain, that Sarca’s author was Pietro Bembo. Researchers named Girolamo Fracastor, Andrea Navager and Agostino Beazzan, among others, as possible authors of the text in addition to Bembo. The question of the poem’s authorship remains unresolved to this day. The aim of this article is to analyse the turbulent and hypothesis-rich debate on the attribution of the Renaissance work. The poem has been subjected to internal criticism, i.e. inferences about the author’s person based on content analysis. Historical and bibliographical indicators of the work have also been examined. The article also attempts to answer the question of whether the latest techniques used in the analysis of the linguistic and stylistic features of the text, such as the methods of computer stylometry, could prove helpful in determining the authorship of the Sarca poem.

In this paper we offer a series of quantitative analyzes that support the non-Cervantine authorship of the Entremés de los romances, based on the comparison of that text with thirty-two Spanish Golden Age entremeses, by ten different authors, among which are the eight unquestionable entremeses from Don Quixote’s author., En este trabajo ofrecemos una serie de análisis cuantitativos que avalan la autoría no cervantina del Entremés de los romances, basados en la comparación de ese texto con treinta y dos entremeses del Siglo de Oro español, de diez autores distintos, entre los que se encuentran los ocho entremeses indubitados del autor del Quijote.

Since R. L. Kennedy’s study (1939), the authorship of El caballero has been under some suspicion. That scholar noted then that some metrical features of the play did not seem particularly moretian to her: the percentage of redondillas andsilvas, the use of décimas, and the fact that only one act ends in romance. It seems appropriate to review the abundant critical sources and to discuss and refute in de-tail professor Kennedy’s observations, Desde el estudio de R. L. Kennedy (1939) la autoría de El caballero ha estado bajo cierta sospecha. Esa estudiosa norteamericana anotó entonces que algunos rasgos métricos de esa pieza no le parecían especialmente moretianos: el porcentaje de redondillas y silvas, la presencia de décimas y el hecho de que en ella solo un acto termine en romance. Cumple repasar las numerosas fuentes críticas sobre la obra y debatir y refutar en detalle las observaciones de la profesora Kennedy.

El corpus de las comedias bíblicas áureas del Siglo de Oro español es muy limitado respecto al ingente número de dramas creados en esa centuria. Entre sus títulos existen algunos de dudosa autoría como el caso del David perseguido y montes de Gelboé, inicialmente atribuida a Lope de Vega. La comedia, impresa solo en ejemplares sueltos y en su mayoría del siglo XVIII, ha sido siempre objeto de dudas en las investigaciones de los estudiosos lopescos debido a su estilo y versificación. Los avances estilométricos han permitido dirimir una posible autoría de la comedia hacia Antonio Martínez de Meneses, autor del ciclo calderoniano. El análisis estilométrico queda avalado por el estudio de la obra de Martínez de Meneses, donde la comedia se encuadra dentro de su léxico, estilo y tipo de versificación propio de los dramaturgos seguidores de Calderón., The corpus of the biblical plays of the Spanish Golden Age is very limited compared to the enormous number of dramas created in that century. Some of these titles have dubious authorship such as the case of David perseguido y montes de Gelboé, initially attributed to Lope de Vega. The play, printed only in single chapbooks and mostly in the 18th century, has always been the subject of concern in the research of Lope scholars due to its style and versification. The stylometric advances have provided a potential authorship for the comedy, with this being Antonio Martínez de Meneses, author of the Calderón cycle. The stylometric analysis is guaranteed by the study of the work of Martínez de Meneses, where the comedy fits within his lexicon, style and type of versification typical of the playwrights who followed Calderón.

A fundamental feature of many genres of fiction is the alternation between a narrative frame (NF) andquoted inset (QI) dialogue. Both formal and representational features distinguish NF and QI segments. This paper is an explorative study on the stylistic differentiation between frame and inset material in recent commercially successful fiction in Swedish. There are mainly two orthographic options as regards this distinction: Explicitly enclosing inset segments within quotation marks is one. Using an initial dash to indicate utterance display is another, in which case frame and inset material typically alternate in away not made explicit by the orthography. The corpus behind the present study comprised 450 novels. In order to deal with dash orthography data (135 books), we trained a multilayer perceptron classifier to tell NF and QI segments apart. We relied on the fact that native quotation mark text can be converted to annotated dash orthography data, which can then be used for supervised training and validation. A small-scale manual evaluation on the texts we aim to analyze, yielded an accuracy score around 95%. In order to explore the stylometric relations between NF and QI components in the novels, we looked at a selection of basic grammatical features. A characterization of each feature was made by means of recording the fraction of works in which the relative frequency of the feature is higher in QI than in NF. This summarizes how authors tend to “use” that feature to create a contrast between NF and QI. Another way to examine how the NF and QI styles are related is to apply a correlation test. We thensaw, for instance, that QI material in 100% of the books are denser in auxiliary verbs, second person pronouns, and interjections, while NF segments in all or almost all cases are denser in nouns, adjectives, third person pronouns, and prepositions. We could also observe that e.g. noun density in NF and QI correlate in a strong way. The same holds for adverbs and, Patterns of Popularity: Towards a Holistic Understanding of Contemporary Bestselling Fiction

In der digitalen Forensik als auch in der akademischen Forschung zur natürlichen Sprache ist die Fragestellung der automatischen Feststellung der Urheberschaft von Dokumenten ein relevantes Thema. Dabei werden stilistische Merkmale von Autor:innen analysiert, anhand deren man den Ursprung zuordnen kann. Eine der bisher unbeantworteten Fragen in diesem Forschungsgebiet ist ob mehrsprachige Autor:innen für sie typische Merkmale in mehreren Sprachen verwenden, und ob man solche Merkmale für eine sprachübergreifende Analyse der Urheberschaft verwenden kann. Diese Arbeit beschäftigt sich mit diesem sprachenübergreifenden Szenario, und beinhaltet wissenschaftliche Beiträge in mehreren relevanten Bereichen. Ein großes Problem in diesem Forschungsfeld ist der Mangel an Datensätzen die für diese Art von Forschung verwendet werden können. In dieser Arbteit wird eine Methode präsentiert die durch die Verwendung von Kommentaren aus einer Social Media Plattform Datensätze in verschiedenen Sprachkombinationen zusammenstellt, die für die sprachenübergreifende Forschung von Urheberschaft verwendet werden kann. Desweiteren wird ein neues Merkmal vorgestellt welches für das automatische Machine Learning verwendet werden kann: DT-grams verwenden universelle grammatikale Eigenschaften von Texten, die sprachunabhängig berechnet werden können und vor allem in Szenarien mit wenig verfügbaren Daten effiziente Klassifizierungen ermöglichen. Durch die Entwicklung eines ausgiebigen Benchmarks für Urheberschaftsforschung wird ein weiterer Kontext für die Leistung von DT-grams und auch anderen etablierten Methoden geschaffen. Schließlich werden diese Ergebnisse durch Experimente in verwandten Disziplinen wie dem Authorship Profiling ergänzt., Determining the authorship of a document by analyzing the stylistic choices of authors can be used in digital forensics and is an important field in natural language processing. For authors that write in more than one language, one question that arises is which features of the written texts are being transferred to the respective other language, and if those features can be used to identify the author, independent from the language the features are learned from. This thesis focuses on this cross-language scenario, and presents contributions in multiple aspects. One big problem in this field is the availability of suitable datasets, since authors writing in multiple languages are relatively scarce. Leveraging internet-scale social media comments, a method is presented that composes datasets using multilingual authors, enabling true cross-language authorship research. In another contribution, a novel type of machine learning feature for cross-language analyses is presented: DT-grams are based on universal grammar features and can be used to effectively classif yauthors in small-scale attribution problems. Finally, to provide more context to the performance of the DT-grams in other fields, a benchmark for authorship attribution in general is presented, and also experiments in related fields such as authorship profiling are performed., Benjamin Murauer, Zusammenfassung in deutscher Sprache, Dissertation University of Innsbruck 2022

In der digitalen Forensik als auch in der akademischen Forschung zur natürlichen Sprache ist die Fragestellung der automatischen Feststellung der Urheberschaft von Dokumenten ein relevantes Thema. Dabei werden stilistische Merkmale von Autor:innen analysiert, anhand deren man den Ursprung zuordnen kann. Eine der bisher unbeantworteten Fragen in diesem Forschungsgebiet ist ob mehrsprachige Autor:innen für sie typische Merkmale in mehreren Sprachen verwenden, und ob man solche Merkmale für eine sprachübergreifende Analyse der Urheberschaft verwenden kann. Diese Arbeit beschäftigt sich mit diesem sprachenübergreifenden Szenario, und beinhaltet wissenschaftliche Beiträge in mehreren relevanten Bereichen. Ein großes Problem in diesem Forschungsfeld ist der Mangel an Datensätzen die für diese Art von Forschung verwendet werden können. In dieser Arbteit wird eine Methode präsentiert die durch die Verwendung von Kommentaren aus einer Social Media Plattform Datensätze in verschiedenen Sprachkombinationen zusammenstellt, die für die sprachenübergreifende Forschung von Urheberschaft verwendet werden kann. Desweiteren wird ein neues Merkmal vorgestellt welches für das automatische Machine Learning verwendet werden kann: DT-grams verwenden universelle grammatikale Eigenschaften von Texten, die sprachunabhängig berechnet werden können und vor allem in Szenarien mit wenig verfügbaren Daten effiziente Klassifizierungen ermöglichen. Durch die Entwicklung eines ausgiebigen Benchmarks für Urheberschaftsforschung wird ein weiterer Kontext für die Leistung von DT-grams und auch anderen etablierten Methoden geschaffen. Schließlich werden diese Ergebnisse durch Experimente in verwandten Disziplinen wie dem Authorship Profiling ergänzt., Determining the authorship of a document by analyzing the stylistic choices of authors can be used in digital forensics and is an important field in natural language processing. For authors that write in more than one language, one question that arises is which features of the written texts are being transferred to the respective other language, and if those features can be used to identify the author, independent from the language the features are learned from. This thesis focuses on this cross-language scenario, and presents contributions in multiple aspects. One big problem in this field is the availability of suitable datasets, since authors writing in multiple languages are relatively scarce. Leveraging internet-scale social media comments, a method is presented that composes datasets using multilingual authors, enabling true cross-language authorship research. In another contribution, a novel type of machine learning feature for cross-language analyses is presented: DT-grams are based on universal grammar features and can be used to effectively classif yauthors in small-scale attribution problems. Finally, to provide more context to the performance of the DT-grams in other fields, a benchmark for authorship attribution in general is presented, and also experiments in related fields such as authorship profiling are performed., Benjamin Murauer, Zusammenfassung in deutscher Sprache, Dissertation University of Innsbruck 2022

This study shows the possibilities of lexical and statistical analysis for the interpretation of classical literature. The authors’ features of the frequency words use and expressions are shown on the material of the corpus of works by Fyodor Dostoevsky, Leo Tolstoy, Anton Chekhov, Ivan Goncharov, Ivan Turgenev. Conclusions have been drawn on the specifics of psycho-emotional dominants in the work of classical writers., В исследовании представлены возможности лексико-статистического анализа для интерпретации классической литературы. На материале корпуса произведений Ф. М. Достоевского, Л. Н. Толстого, А. П. Чехова, И. А. Гончарова, И. С. Тургенева показаны авторские особенности употребления частотных слов и выражений. Сделаны выводы о специфике психоэмоциональных доминант в творчестве писателей-классиков.

В статье рассматривается стилометрическая модель системного представления авторской лексической синтагматики в русской литературе XIX в., The article considers a stylometric model of systematic interpretation of authored lexical syntagmatics(lexical compatibility) in the classical prose of the 19th century.

Establishing authorship of online texts is fundamental to combat cybercrimes. Unfortunately, text length is limited on some platforms, making the challenge harder. We aim at identifying the authorship of Twitter messages limited to 140 characters. We evaluate popular stylometric features, widely used in literary analysis, and specific Twitter features like URLs, hashtags, replies or quotes. We use two databases with 93 and 3957 authors, respectively. We test varying sized author sets and varying amounts of training/test texts per author. Performance is further improved by feature combination via automatic selection. With a large amount of training Tweets (>500), a good accuracy (Rank-5>80%) is achievable with only a few dozens of test Tweets, even with several thousands of authors. With smaller sample sizes (10-20 training Tweets), the search space can be diminished by 9-15% while keeping a high chance that the correct author is retrieved among the candidates. In such cases, automatic attribution can provide significant time savings to experts in suspect search. For completeness, we report verification results. With few training/test Tweets, the EER is above 20-25%, which is reduced to < 15% if hundreds of training Tweets are available. We also quantify the computational complexity and time permanence of the employed features. © 2019 IEEE., Funding: This work was supported in part by the project 2016-03497 of the Swedish Research Council. Naveed Muhammad has been funded by European Social Fund via IT Academy programme. The authors also thank the CAISR Program of the Swedish Knowledge Foundation.

Recasting is a recurring phenomenon in Spanish Golden Age theatre. There are numerous cases in which a playwright starts with a previous text and modifies it to form a new work by reusing a certain number of verses. Sometimes, with the passage of time, confusion is created between the original text and the recast version, and it becomes problematic to establish an order between the two versions. This is the case of El mejor amigo, el muerto, a play which has two textual variants that share a series of verses. Critics have argued that the handwritten version attributed to Belmonte, Rojas and Calderón constitutes the recasting of a previous text, transmitted by printed tradition. We propose here a protocol through stylometry to try to resolve this confusion and distinguish between original and recast. We apply it to our case study and propose that the version of these three playwrights appears to constitute the original text. In addition, we test the efficacy of stylometry in the problems of authorship of collaborated works and we attribute the questioned second act of the handwritten version to Francisco de Rojas Zorrilla., La refundición supone un fenómeno recurrente en el teatro aurisecular español. Existen numerosos casos en los que un dramaturgo parte de un texto previo y lo modifica para conformar una nueva obra reutilizando un cierto número de versos. En ocasiones, el paso del tiempo confunde la obra primigenia con la refundición y resulta complicado establecer un orden entre las dos versiones. Es el caso de El mejor amigo, el muerto, obra de la que contamos con dos variantes textuales que comparten una serie de versos. La crítica ha sostenido que la versión manuscrita atribuida a Belmonte, Rojas y Calderón constituye la refundición de un texto anterior, transmitido por la tradición impresa. Proponemos aquí un protocolo a través de la estilometría para tratar de resolver esta confusión y discernir entre original y refundición. Lo aplicamos a nuestro caso de estudio y proponemos que la versión de estos tres dramaturgos parece conformar el texto original. Además, probamos la eficacia de la estilometría en los problemas de autoría de las obras colaboradas y atribuimos la cuestionada segunda jornada de la versión manuscrita a Francisco de Rojas Zorrilla.

We are aware of more than half a thousand of preserved comedias attributed to Lope de Vega, and all have been subject to stylometric analysis as part of the ETSO project. In order to perform that analysis, R-based Stylo package developed by Eder, Rybicki and Kestemont has been used. On this occasion, the results of the 342 plays most likely to be authentic, according to the Morley and Bruerton Chronology classification, are being presented. The above-mentioned results confirm the authorship of 333, meaning 97.36%, a super high percentage that ratifies the success of that monumental study of pre-digital stylometry that took place half a century ago. At the same time, it demonstrates the effectiveness of digital stylometry in this kind of tasks about enquiring or confirming authorship, of which the Spanish theatre of the Golden Century is so much in need. Regarding the nine cases that ETSO has not been able to confirm, separate sections have been dedicated where, from bibliography and philology, it is being attempted to find explanations for these discrepancies and, in some cases, possible alternative authorships towards which research can be directed have been pointed out., Las comedias conservadas atribuidas a Lope de Vega de las que tenemos noticia sobrepasan el medio millar y han sido todas ellas objeto de análisis estilométricos dentro del proyecto ETSO. Se ha utilizado para ello el paquete Stylo basado en R, desarrollado por Eder, Rybicki y Kestemont. En esta ocasión se ofrecen los resultados de las 342 obras con mayores garantías de ser auténticas, según la clasificación de la Cronología de Morley y Bruerton. Los resultados confirman la autoría de 333, es decir del 97,36%, una cifra altísima que ratifica el acierto de ese monumental estudio de estilometría predigital de hace medio siglo, al tiempo que, de alguna manera, pone de manifiesto la eficacia de la estilometría digital en las tareas de averiguación o confirmación de autorías, de las que tan necesitado está el teatro español del Siglo de Oro. A los nueve casos que ETSO no ha podido confirmar se dedican sendos apartados, donde desde la bibliografía y la filología se intenta buscar explicaciones a esas disidencias y, en algunos de los casos, se señalan posibles autorías alternativas hacia las que dirigir la investigación.

Juan Pérez de Montalbán’s Segundo tomo de comedias (1638) was prepared not much before the author’s death, when he was already ill, and perhaps was his father, the famous Madrid’s bookseller Alonso Pérez, the one who selected the 12 plays that forms the volume. In different occasions, critics as Victor Dixon and Maria Grazia Profeti doubted that the plays were all belonging to Montalbán. Now, in the present work, the different plays are analyzed with stylometry and a philological approach, in order to attribute the plays eventually to other authors. Thanks to the corpus of more than one thousand Spanish Golden Age plays of the project directed by Álvaro Cuéllar González y Germán Vega García-Luengos, ETSO Estilometría aplicada al Teatro del Siglo de Oro, the present article uses the Stylo package, in order to show through the cluster analysis and the graphs about the twenty closest plays for each of the twelve texts in the volume, giving examples of the most interesting results. As a matter of fact, the play El sufrimiento premiado, thanks to the stylometric approach, is confirmed to belong to Lope de Vega., El Segundo tomo de comedias (1638) de Juan Pérez de Montalbán se preparó poco antes de su muerte, cuando ya el autor estaba enfermo, y posiblemente fue su padre, el famoso librero madrileño Alonso Pérez, quien se encargó de reunir las doce comedias que forman el tomo. En distintos momentos, críticos como Victor Dixon y Maria Grazia Profeti pusieron en tela de juicio la posibilidad de que todas las comedias perteneciesen a Montalbán. Ahora, en el presente estudio se intenta atribuir las distintas comedias a sus respectivos autores a través de la estilometría y de los estudios filológicos. Gracias al corpus de más de mil comedias del proyecto dirigido por Álvaro Cuéllar González y Germán Vega García-Luengos, ETSO Estilometría aplicada al Teatro del Siglo de Oro, y utilizando el paquete Stylo, se lleva a cabo un clúster análisis y un gráfico de las veinte obras más cercanas para cada una de las doce presentes en el volumen, de las que se brinda los ejemplos más problemáticos. En concreto destaca el caso de El sufrimiento premiado, que el análisis estilométrico confirma que se trata de una comedia de Lope de Vega.

The article presents an overview of the recovery of Agustín Moreto’s complete theatre works, carried out by the research group PROTEO, based in the University of Burgos, but with members and collaborators in different Universities around the world located from Canada to Italy, from Poland to the United States, passing through Mexico, Germany and France, among other places, and in many cities of Spain. The state of the art is raised from the point of view of academic work and its complementary dissemination, through the Reichenberger edition and the Miguel de Cervantes Digital Library. From this Library statistical data are shared on the situation of a dramatist like Moreto, who is included in the macroportal of the Spanish Classical Theatre. It may well serve as an example of the work that this Library carries out to disseminate the literary heritage in Spanish, and especially, the classical theatre, El artículo presenta una visión de conjunto de la recuperación del teatro completo de Agustín Moreto, que lleva a cabo el grupo de investigación Proteo, incardinado en la Universidad de Burgos, pero con miembros y colaboradores en distintas universidades del mundo, localizadas desde Canadá hasta Italia, desde Polonia a Estados Unidos, pasando por México, Alemania y Francia, entre otros lugares, y en numerosas ciudades de España. Se plantea el estado de la cuestión desde el punto de vista del trabajo académico y de su difusión complementaria a través de Edition Reichenberger y de la Biblioteca Virtual Miguel de Cervantes. De esta última se comparten datos estadísticos de la situación de un dramaturgo como Moreto incardinado en el macroportal Teatro Clásico Español. Bien puede servir como muestra de la labor que esta Biblioteca desarrolla para la difusión del patrimonio literario en español y, en especial, del teatro clásico.

The miscellany Favores de las musas by Sebastián Francisco de Medrano contains three different plays in terms of style, treatment and form. The authorship of one of them, Lealtad, amistad y amor, has been widely discussed because it coincides with the work of Pérez de Montalbán, Amor, lealtad y amistad, also attributed to Lope de Vega. Despite of the numerous surveys, the creator of the comedy has remained an unknown. However, the comparative stylometric analyses between the works of the miscellany have allowed a new approach to the philological study of this play, as well as to the limits of stylometric research with respect to the other two works printed in the volume, La miscelánea Favores de las musas de Sebastián Francisco de Medrano contiene tres comedias diversas en cuanto a estilo, tratamiento y forma. La autoría de una de ellas, Lealtad, amistad y amor, ha sido ampliamente discutida por su coincidencia con la obra de Pérez de Montalbán, Amor, lealtad y amistad, también atribuida a Lope de Vega. A pesar de los numerosos estudios, el creador de la comedia ha seguido siendo una incógnita. Sin embargo, los análisis estilométricos comparativos entre las obras de la miscelánea han permitido una nueva aproximación al estudio filológico de esta comedia, así como a los límites de la investigación estilométrica respecto a las otras dos obras impresas en el volumen

The aim of this work is to study the Petrarchian sublayers in Los amores de Marte y Venus of Juan de la Cueva, published in the year 1604 in the second part of its poetic works. In the first part of the article, we will examine the textual tradition, the fable’s intertextuality and the Petrarchian codes appeared in the author’s lyrical poetry. In the second part, we are going to do an analysis based on close reading, which will be complemented by distant reading methods, including a computational statistics programme entitled ContaWords, El propósito de esta investigación consiste en estudiar el sustrato petrarquista de Los amores de Marte y Venus de Juan de la Cueva, publicado en el año 1604 en la segunda parte de las obras poéticas del autor. En la primera parte, estudiaremos la cuestión crítica de la obra, la intertextualidad de la fábula y la asimilación del código petrarquista en la lírica del poeta. En la segunda parte, analizaremos los elementos petrarquescos de la fábula a partir de una lectura próxima, que enriqueceremos con una lectura distante facilitada por una herramienta de estadística computacional llamada ContaWords

The article presents an overview of the recovery of Agustín Moreto’s complete theatre works, carried out by the research group PROTEO, based in the University of Burgos, but with members and collaborators in different Universities around the world located from Canada to Italy, from Poland to the United States, passing through Mexico, Germany and France, among other places, and in many cities of Spain. The state of the art is raised from the point of view of academic work and its complementary dissemination, through the Reichenberger edition and the Miguel de Cervantes Digital Library. From this Library statistical data are shared on the situation of a dramatist like Moreto, who is included in the macroportal of the Spanish Classical Theatre. It may well serve as an example of the work that this Library carries out to disseminate the literary heritage in Spanish, and especially, the classical theatre, El artículo presenta una visión de conjunto de la recuperación del teatro completo de Agustín Moreto, que lleva a cabo el grupo de investigación Proteo, incardinado en la Universidad de Burgos, pero con miembros y colaboradores en distintas universidades del mundo, localizadas desde Canadá hasta Italia, desde Polonia a Estados Unidos, pasando por México, Alemania y Francia, entre otros lugares, y en numerosas ciudades de España. Se plantea el estado de la cuestión desde el punto de vista del trabajo académico y de su difusión complementaria a través de Edition Reichenberger y de la Biblioteca Virtual Miguel de Cervantes. De esta última se comparten datos estadísticos de la situación de un dramaturgo como Moreto incardinado en el macroportal Teatro Clásico Español. Bien puede servir como muestra de la labor que esta Biblioteca desarrolla para la difusión del patrimonio literario en español y, en especial, del teatro clásico.

The miscellany Favores de las musas by Sebastián Francisco de Medrano contains three different plays in terms of style, treatment and form. The authorship of one of them, Lealtad, amistad y amor, has been widely discussed because it coincides with the work of Pérez de Montalbán, Amor, lealtad y amistad, also attributed to Lope de Vega. Despite of the numerous surveys, the creator of the comedy has remained an unknown. However, the comparative stylometric analyses between the works of the miscellany have allowed a new approach to the philological study of this play, as well as to the limits of stylometric research with respect to the other two works printed in the volume, La miscelánea Favores de las musas de Sebastián Francisco de Medrano contiene tres comedias diversas en cuanto a estilo, tratamiento y forma. La autoría de una de ellas, Lealtad, amistad y amor, ha sido ampliamente discutida por su coincidencia con la obra de Pérez de Montalbán, Amor, lealtad y amistad, también atribuida a Lope de Vega. A pesar de los numerosos estudios, el creador de la comedia ha seguido siendo una incógnita. Sin embargo, los análisis estilométricos comparativos entre las obras de la miscelánea han permitido una nueva aproximación al estudio filológico de esta comedia, así como a los límites de la investigación estilométrica respecto a las otras dos obras impresas en el volumen

The paper explores differences between bestsellers in print and the most popular audiobooks ina subscription-based streaming service for books (“beststreamers”) by means of computationalstylistics. The point of departure is the complete set of print bestsellers and digital audiobookbeststreamers for the Swedish book market 2015–2019, in total 172 novels. We probed 34linguistic measures to track differences between subsets at the stylistic level. The results indicatethat there are pronounced differences between the formats. Print bestsellers are longer,syntactically more complex and varied, and seem to focus more on depiction. Beststreamingaudiobooks, by contrast, are shorter, more straightforwardly written, and appear to highlight plotand dialogue. The results are replicated when the comparison is restricted to crime fiction, themost prominent genre in the commercial top segment. Given these results, it is argued that it ispossible to discern a particular audiobook style as one factor affecting book consumption indigital formats, and conversely that the printed format is associated with other stylistic preferences., Patterns of Popularity: Towards a Holistic Understanding of Contemporary Bestselling Fiction

The paper explores differences between bestsellers in print and the most popular audiobooks ina subscription-based streaming service for books (“beststreamers”) by means of computationalstylistics. The point of departure is the complete set of print bestsellers and digital audiobookbeststreamers for the Swedish book market 2015–2019, in total 172 novels. We probed 34linguistic measures to track differences between subsets at the stylistic level. The results indicatethat there are pronounced differences between the formats. Print bestsellers are longer,syntactically more complex and varied, and seem to focus more on depiction. Beststreamingaudiobooks, by contrast, are shorter, more straightforwardly written, and appear to highlight plotand dialogue. The results are replicated when the comparison is restricted to crime fiction, themost prominent genre in the commercial top segment. Given these results, it is argued that it ispossible to discern a particular audiobook style as one factor affecting book consumption indigital formats, and conversely that the printed format is associated with other stylistic preferences., Patterns of Popularity: Towards a Holistic Understanding of Contemporary Bestselling Fiction

The paper explores differences between bestsellers in print and the most popular audiobooks ina subscription-based streaming service for books (“beststreamers”) by means of computationalstylistics. The point of departure is the complete set of print bestsellers and digital audiobookbeststreamers for the Swedish book market 2015–2019, in total 172 novels. We probed 34linguistic measures to track differences between subsets at the stylistic level. The results indicatethat there are pronounced differences between the formats. Print bestsellers are longer,syntactically more complex and varied, and seem to focus more on depiction. Beststreamingaudiobooks, by contrast, are shorter, more straightforwardly written, and appear to highlight plotand dialogue. The results are replicated when the comparison is restricted to crime fiction, themost prominent genre in the commercial top segment. Given these results, it is argued that it ispossible to discern a particular audiobook style as one factor affecting book consumption indigital formats, and conversely that the printed format is associated with other stylistic preferences., Patterns of Popularity: Towards a Holistic Understanding of Contemporary Bestselling Fiction

Establishing authorship of online texts is fundamental to combat cybercrimes. Unfortunately, text length is limited on some platforms, making the challenge harder. We aim at identifying the authorship of Twitter messages limited to 140 characters. We evaluate popular stylometric features, widely used in literary analysis, and specific Twitter features like URLs, hashtags, replies or quotes. We use two databases with 93 and 3957 authors, respectively. We test varying sized author sets and varying amounts of training/test texts per author. Performance is further improved by feature combination via automatic selection. With a large amount of training Tweets (>500), a good accuracy (Rank-5>80%) is achievable with only a few dozens of test Tweets, even with several thousands of authors. With smaller sample sizes (10-20 training Tweets), the search space can be diminished by 9-15% while keeping a high chance that the correct author is retrieved among the candidates. In such cases, automatic attribution can provide significant time savings to experts in suspect search. For completeness, we report verification results. With few training/test Tweets, the EER is above 20-25%, which is reduced to < 15% if hundreds of training Tweets are available. We also quantify the computational complexity and time permanence of the employed features. © 2019 IEEE., Funding: This work was supported in part by the project 2016-03497 of the Swedish Research Council. Naveed Muhammad has been funded by European Social Fund via IT Academy programme. The authors also thank the CAISR Program of the Swedish Knowledge Foundation.

Establishing authorship of online texts is fundamental to combat cybercrimes. Unfortunately, text length is limited on some platforms, making the challenge harder. We aim at identifying the authorship of Twitter messages limited to 140 characters. We evaluate popular stylometric features, widely used in literary analysis, and specific Twitter features like URLs, hashtags, replies or quotes. We use two databases with 93 and 3957 authors, respectively. We test varying sized author sets and varying amounts of training/test texts per author. Performance is further improved by feature combination via automatic selection. With a large amount of training Tweets (>500), a good accuracy (Rank-5>80%) is achievable with only a few dozens of test Tweets, even with several thousands of authors. With smaller sample sizes (10-20 training Tweets), the search space can be diminished by 9-15% while keeping a high chance that the correct author is retrieved among the candidates. In such cases, automatic attribution can provide significant time savings to experts in suspect search. For completeness, we report verification results. With few training/test Tweets, the EER is above 20-25%, which is reduced to < 15% if hundreds of training Tweets are available. We also quantify the computational complexity and time permanence of the employed features. © 2019 IEEE., Funding: This work was supported in part by the project 2016-03497 of the Swedish Research Council. Naveed Muhammad has been funded by European Social Fund via IT Academy programme. The authors also thank the CAISR Program of the Swedish Knowledge Foundation.

Stylometry is the field of research aimed at defining features for quantifying writing style, and the most studied question in stylometry has been authorship attribution, where given a set of texts with known authorship, we are asked to determine the author of a new unseen document. In this study a number of lexical and syntactic stylometric feature sets were extracted for two datasets, a smaller one containing 27 books from 25 authors, and a larger one containing 11,063 books from 316 authors. Neural networks were used to transform the features into embeddings after which the nearest neighbor method was used to attribute texts to their closest neighbor. The smaller dataset achieved an accuracy of 91.25% using frequencies of 50 most common functional words, dependency relations, and Part-of-speech (POS) tags as features, and the larger dataset achieved 69.18% accuracy using a similar feature set with 100 most common functional words. In addition to performing author attribution, a user test showed the potentials of the model in generating author similarities and hence being useful in an applied setting for recommending books to readers based on author style., Stilometri eller stilistisk statistik är ett forskningsområde som arbetar med att definiera särdrag för att kvantitativt studera stilistisk variation hos författare. Stilometri har mest fokuserat på författarbestämning, där uppgiften är att avgöra vem som skrivit en viss text där författaren är okänd, givet tidigare texter med kända författare. I denna stude valdes ett antal lexikala och syntaktiska stilistiska särdrag vilka användes för att bestämma författare. Experimentella resultat redovisas för två samlingar litterära verk: en mindre med 27 böcker skrivna av 25 författare och en större med 11 063 böcker skrivna av 316 författare. Neurala nätverk användes för att koda de valda särdragen som vektorer varefter de närmaste grannarna för de okända texterna i vektorrummet användes för att bestämma författarna. För den mindre samlingen uppnåddes en träffsäkerhet på 91,25% genom att använda de 50 vanligaste funktionsorden, syntaktiska dependensrelationer och ordklassinformation. För den större samlingen uppnåddes en träffsäkerhet på 69,18% med liknande särdrag. Ett användartest visar att modellen utöver att bestämma författare har potential att representera likhet mellan författares stil. Detta skulle kunna tillämpas för att rekommendera böcker till läsare baserat på stil.

The miscellany Favores de las musas by Sebastián Francisco de Medrano contains three different plays in terms of style, treatment and form. The authorship of one of them, Lealtad, amistad y amor, has been widely discussed because it coincides with the work of Pérez de Montalbán, Amor, lealtad y amistad, also attributed to Lope de Vega. Despite of the numerous surveys, the creator of the comedy has remained an unknown. However, the comparative stylometric analyses between the works of the miscellany have allowed a new approach to the philological study of this play, as well as to the limits of stylometric research with respect to the other two works printed in the volume, La miscelánea Favores de las musas de Sebastián Francisco de Medrano contiene tres comedias diversas en cuanto a estilo, tratamiento y forma. La autoría de una de ellas, Lealtad, amistad y amor, ha sido ampliamente discutida por su coincidencia con la obra de Pérez de Montalbán, Amor, lealtad y amistad, también atribuida a Lope de Vega. A pesar de los numerosos estudios, el creador de la comedia ha seguido siendo una incógnita. Sin embargo, los análisis estilométricos comparativos entre las obras de la miscelánea han permitido una nueva aproximación al estudio filológico de esta comedia, así como a los límites de la investigación estilométrica respecto a las otras dos obras impresas en el volumen

The article presents an overview of the recovery of Agustín Moreto’s complete theatre works, carried out by the research group PROTEO, based in the University of Burgos, but with members and collaborators in different Universities around the world located from Canada to Italy, from Poland to the United States, passing through Mexico, Germany and France, among other places, and in many cities of Spain. The state of the art is raised from the point of view of academic work and its complementary dissemination, through the Reichenberger edition and the Miguel de Cervantes Digital Library. From this Library statistical data are shared on the situation of a dramatist like Moreto, who is included in the macroportal of the Spanish Classical Theatre. It may well serve as an example of the work that this Library carries out to disseminate the literary heritage in Spanish, and especially, the classical theatre, El artículo presenta una visión de conjunto de la recuperación del teatro completo de Agustín Moreto, que lleva a cabo el grupo de investigación Proteo, incardinado en la Universidad de Burgos, pero con miembros y colaboradores en distintas universidades del mundo, localizadas desde Canadá hasta Italia, desde Polonia a Estados Unidos, pasando por México, Alemania y Francia, entre otros lugares, y en numerosas ciudades de España. Se plantea el estado de la cuestión desde el punto de vista del trabajo académico y de su difusión complementaria a través de Edition Reichenberger y de la Biblioteca Virtual Miguel de Cervantes. De esta última se comparten datos estadísticos de la situación de un dramaturgo como Moreto incardinado en el macroportal Teatro Clásico Español. Bien puede servir como muestra de la labor que esta Biblioteca desarrolla para la difusión del patrimonio literario en español y, en especial, del teatro clásico.

The paper deals with a stylometric study of I. Asimov’s idiostyle considering a corpus-based approach. For the analysis of stylometric features the I. Asimov "Foundation" cycle text corpus was created. The quantitative and statistical processing of the text corpus is done via Sketch Engine tool that enables comparison of phrases and words in the following variants: lemma, token, subcorpus. The last parameter is important for distinguishing individual authorial features, comparing their combinability and identifying the dynamics of idiostyle. The following stylometric features of a text corpus by I. Asimov are described: quantitative morphological and lexical characteristics of the vocabulary, quantitative characteristics of occasionalisms’ word formation and statistical estimation of occasionalisms’ collocations. It is sated that the frequency of occasionalisms in the cycle of novels undergoes chronological change, as well as their combinability. In this paper, a method of occasionalisms’ automated extraction due to keyness score was proposed, however, it requires the subsequent manual verification.

The aim of this work is to study the Petrarchian sublayers in Los amores de Marte y Venus of Juan de la Cueva, published in the year 1604 in the second part of its poetic works. In the first part of the article, we will examine the textual tradition, the fable’s intertextuality and the Petrarchian codes appeared in the author’s lyrical poetry. In the second part, we are going to do an analysis based on close reading, which will be complemented by distant reading methods, including a computational statistics programme entitled ContaWords, El propósito de esta investigación consiste en estudiar el sustrato petrarquista de Los amores de Marte y Venus de Juan de la Cueva, publicado en el año 1604 en la segunda parte de las obras poéticas del autor. En la primera parte, estudiaremos la cuestión crítica de la obra, la intertextualidad de la fábula y la asimilación del código petrarquista en la lírica del poeta. En la segunda parte, analizaremos los elementos petrarquescos de la fábula a partir de una lectura próxima, que enriqueceremos con una lectura distante facilitada por una herramienta de estadística computacional llamada ContaWords

The article presents an overview of the recovery of Agustín Moreto’s complete theatre works, carried out by the research group PROTEO, based in the University of Burgos, but with members and collaborators in different Universities around the world located from Canada to Italy, from Poland to the United States, passing through Mexico, Germany and France, among other places, and in many cities of Spain. The state of the art is raised from the point of view of academic work and its complementary dissemination, through the Reichenberger edition and the Miguel de Cervantes Digital Library. From this Library statistical data are shared on the situation of a dramatist like Moreto, who is included in the macroportal of the Spanish Classical Theatre. It may well serve as an example of the work that this Library carries out to disseminate the literary heritage in Spanish, and especially, the classical theatre, El artículo presenta una visión de conjunto de la recuperación del teatro completo de Agustín Moreto, que lleva a cabo el grupo de investigación Proteo, incardinado en la Universidad de Burgos, pero con miembros y colaboradores en distintas universidades del mundo, localizadas desde Canadá hasta Italia, desde Polonia a Estados Unidos, pasando por México, Alemania y Francia, entre otros lugares, y en numerosas ciudades de España. Se plantea el estado de la cuestión desde el punto de vista del trabajo académico y de su difusión complementaria a través de Edition Reichenberger y de la Biblioteca Virtual Miguel de Cervantes. De esta última se comparten datos estadísticos de la situación de un dramaturgo como Moreto incardinado en el macroportal Teatro Clásico Español. Bien puede servir como muestra de la labor que esta Biblioteca desarrolla para la difusión del patrimonio literario en español y, en especial, del teatro clásico.

The miscellany Favores de las musas by Sebastián Francisco de Medrano contains three different plays in terms of style, treatment and form. The authorship of one of them, Lealtad, amistad y amor, has been widely discussed because it coincides with the work of Pérez de Montalbán, Amor, lealtad y amistad, also attributed to Lope de Vega. Despite of the numerous surveys, the creator of the comedy has remained an unknown. However, the comparative stylometric analyses between the works of the miscellany have allowed a new approach to the philological study of this play, as well as to the limits of stylometric research with respect to the other two works printed in the volume, La miscelánea Favores de las musas de Sebastián Francisco de Medrano contiene tres comedias diversas en cuanto a estilo, tratamiento y forma. La autoría de una de ellas, Lealtad, amistad y amor, ha sido ampliamente discutida por su coincidencia con la obra de Pérez de Montalbán, Amor, lealtad y amistad, también atribuida a Lope de Vega. A pesar de los numerosos estudios, el creador de la comedia ha seguido siendo una incógnita. Sin embargo, los análisis estilométricos comparativos entre las obras de la miscelánea han permitido una nueva aproximación al estudio filológico de esta comedia, así como a los límites de la investigación estilométrica respecto a las otras dos obras impresas en el volumen

The aim of this work is to study the Petrarchian sublayers in Los amores de Marte y Venus of Juan de la Cueva, published in the year 1604 in the second part of its poetic works. In the first part of the article, we will examine the textual tradition, the fable’s intertextuality and the Petrarchian codes appeared in the author’s lyrical poetry. In the second part, we are going to do an analysis based on close reading, which will be complemented by distant reading methods, including a computational statistics programme entitled ContaWords, El propósito de esta investigación consiste en estudiar el sustrato petrarquista de Los amores de Marte y Venus de Juan de la Cueva, publicado en el año 1604 en la segunda parte de las obras poéticas del autor. En la primera parte, estudiaremos la cuestión crítica de la obra, la intertextualidad de la fábula y la asimilación del código petrarquista en la lírica del poeta. En la segunda parte, analizaremos los elementos petrarquescos de la fábula a partir de una lectura próxima, que enriqueceremos con una lectura distante facilitada por una herramienta de estadística computacional llamada ContaWords

The paper explores differences between bestsellers in print and the most popular audiobooks ina subscription-based streaming service for books (“beststreamers”) by means of computationalstylistics. The point of departure is the complete set of print bestsellers and digital audiobookbeststreamers for the Swedish book market 2015–2019, in total 172 novels. We probed 34linguistic measures to track differences between subsets at the stylistic level. The results indicatethat there are pronounced differences between the formats. Print bestsellers are longer,syntactically more complex and varied, and seem to focus more on depiction. Beststreamingaudiobooks, by contrast, are shorter, more straightforwardly written, and appear to highlight plotand dialogue. The results are replicated when the comparison is restricted to crime fiction, themost prominent genre in the commercial top segment. Given these results, it is argued that it ispossible to discern a particular audiobook style as one factor affecting book consumption indigital formats, and conversely that the printed format is associated with other stylistic preferences., Patterns of Popularity: Towards a Holistic Understanding of Contemporary Bestselling Fiction

The paper deals with a stylometric study of I. Asimov’s idiostyle considering a corpus-based approach. For the analysis of stylometric features the I. Asimov "Foundation" cycle text corpus was created. The quantitative and statistical processing of the text corpus is done via Sketch Engine tool that enables comparison of phrases and words in the following variants: lemma, token, subcorpus. The last parameter is important for distinguishing individual authorial features, comparing their combinability and identifying the dynamics of idiostyle. The following stylometric features of a text corpus by I. Asimov are described: quantitative morphological and lexical characteristics of the vocabulary, quantitative characteristics of occasionalisms’ word formation and statistical estimation of occasionalisms’ collocations. It is sated that the frequency of occasionalisms in the cycle of novels undergoes chronological change, as well as their combinability. In this paper, a method of occasionalisms’ automated extraction due to keyness score was proposed, however, it requires the subsequent manual verification.