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Media profiling offers valuable insights to enhance the objectivity and reliability of news coverage by providing comprehensive analysis, but the diversity in languages posed significant challenges to our identification of factuality and political bias of non-English sources. The limitation of existing media analysis research is its concentration on a singular high-resource language, and it hardly extends to languages beyond English. To address this, we introduce xMP, a dataset for zero-shot cross-lingual media profiling tasks. xMP's cross-lingual test set encompasses 34 non-English languages and 18 language families, extending media profiling beyond English resources and allowing us to assess cross-lingual media profiling model performance. Additionally, we propose a method, named R-KAT, to enhance the model's zero-shot cross-lingual transfer learning capability by building virtual multilingual embedding. Our experiments illustrate that our method improves the transferability of models in cross-lingual media profiling tasks. Additionally, we further discuss the performance of our method for different target languages. Our dataset and code are publicly available. [ABSTRACT FROM AUTHOR]

News media profiling is helpful in preventing the spread of fake news at the source and maintaining a good media and news ecosystem. Most previous works only extract features and evaluate media from one dimension independently, ignoring the interconnections between different aspects. This paper proposes a novel news media bias and factuality profiling framework assisted by correlated features. This framework models the relationship and interaction between media bias and factuality, utilizing this relationship to assist in the prediction of profiling results. Our approach extracts features independently while aligning and fusing them through recursive convolution and attention mechanisms, thus harnessing multi-scale interactive information across different dimensions and levels. This method improves the effectiveness of news media evaluation. Experimental results indicate that our proposed framework significantly outperforms existing methods, achieving the best performance in Accuracy and F 1score, improving by at least 1% compared to other methods. This paper further analyzes and discusses based on the experimental results. [ABSTRACT FROM AUTHOR]

This work identifies differences in the success factors of influencers given consumers’ consumption goals (hedonic vs. utilitarian). Although practitioners have complained about the lack of know-how regarding this issue, research on the topic remains scarce. Hypotheses on the differing relevance of the demographic similarity of influencers and consumers and of the factuality of influencers’ communication are verified through an empirical investigation. The scenario is consumers’ selection of a hotel for (1) a holiday (hedonic consumption goal) or (2) a professional/university seminar (utilitarian consumption goal). The results are analyzed by structural equation modeling and multigroup analysis. We generate some surprising results. Counterintuitively, demographic similarity is more important under utilitarian than hedonic conditions. Factuality seems equally important in both conditions. Explanations and implications of these findings are provided.

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Media profiling offers valuable insights to enhance the objectivity and reliability of news coverage by providing comprehensive analysis, but the diversity in languages posed significant challenges to our identification of factuality and political bias of non-English sources. The limitation of existing media analysis research is its concentration on a singular high-resource language, and it hardly extends to languages beyond English. To address this, we introduce xMP, a dataset for zero-shot cross-lingual media profiling tasks. xMP’s cross-lingual test set encompasses 34 non-English languages and 18 language families, extending media profiling beyond English resources and allowing us to assess cross-lingual media profiling model performance. Additionally, we propose a method, named R-KAT, to enhance the model’s zero-shot cross-lingual transfer learning capability by building virtual multilingual embedding. Our experiments illustrate that our method improves the transferability of models in cross-lingual media profiling tasks. Additionally, we further discuss the performance of our method for different target languages. Our dataset and code are publicly available.

This study offers a new perspective on documentary drama in the television, cable and streaming eras by mapping the trajectory of US media industry discourse about docudrama from the early twentieth century to the present. It uses aggregate data from eight entertainment trade journals to show that docudrama emerged in broadcasting and film in the 1930s and has played a significant role in US media culture ever since. It analyzes trade journal commentary and radio broadcasting practices to demonstrate that the two key components of docudrama—dramatization and a discourse of factuality—developed in the network radio era. The key radio innovation was dramatization, which required producers to re-create actual events, conform to generic expectations, and promote a particular ideological perspective on social events. [ABSTRACT FROM AUTHOR]

Based on the epistolary interaction with readers, John Dunton's Athenian Mercury (1691–97) provided a platform for the discussion and dissemination of knowledge drawn from diverse fields. Plagued by doubts about its reliability, the periodical constantly had to (re‐)assert its credibility. One of the strategies the Mercury employed was to emphasize the physicality of objects via text, practising a performance of materiality. Taking the letter‐as‐object as its starting point, this article argues that materiality played a crucial role in not only the representation but also the active production of truthfulness. Examining how Dunton's periodical leveraged notions of the coffeehouse as an exhibition space, this article explores how the Mercury drew on musealization strategies to represent material objects to underline their existence and its own credibility. Interpellating readers as virtuosi, the Athenian Society staged the coffeehouse and even itself as a walk‐in curiosity cabinet, turning letters into matter and fiction into fact. [ABSTRACT FROM AUTHOR]

Copyright of Argumenta Philosophica is the property of Herder Editorial S.L. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The widespread popularity of digital technology has enabled the rapid dissemination of news. However, it has also led to the emergence of "fake news" and the development of a media ecosystem with serious prejudices. If early warnings about the source of fake news are received, this provides better outcomes in preventing its spread. Therefore, the issue of understanding and evaluating the credibility of media has received increasing attention. This work proposes a model of evaluating news media credibility called MiBeMC, which mimics the structure of human verification behavior in networks. Specifically, we first construct an intramodule information feature extractor to simulate the semantic analysis behavior of human information reading. Then, we design a similarity module to mimic the process of obtaining additional information. We also construct an aggregation module. This simulates human verification of correlated content. Finally, we apply regularized adversarial training strategy to train the MiBeMC model. The ablation study results demonstrate the effectiveness of MiBeMC. For the CLEF-task4 development and test dataset, the performance of the MiBeMC over state-of-the-art baseline methods is evaluated and found to be superior. [ABSTRACT FROM AUTHOR]

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Copyright of Revista Signos is the property of Pontificia Universidad Catolica de Valparaiso and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract. This article was written to answer a question: what are the similarities and differences, as well as continuity and discontinuity, on the concept of biblical inerrancy according to modern Evangelical thoughts represented by the International Council of Biblical Inerrancy (ICBI) which formulated the Chicago Statements of Biblical Inerrancy (CSBI) and its supplementary documents compared to the views of pre-modern Christian thoughts or the Church Fathers. This comparison was made to seek the construction of a (more) proportionate articulation on the doctrine of biblical inerrancy. In fact, the differences between both of them are not essentially related to the terminology problem, but rather show different metaphysical, epistemological, hermeneutical preconpositions, and different justification criteria for the validity of the Scripture. The Church Fathers emphasized Scripture as a spiritual and supernatural text so there was no need to always prove its validity historically and factually, while modern Evangelicals that emphasized the harmony of God's revelation with human knowledge emphasized the dimension of accuracy and historicality as the basis for their concepts on biblical inerrancy. Abstrak. Artikel ini ditulis untuk menjawab sebuah pertanyaan: apakah persamaan dan perbedaan, serta kontinuitas dan diskontinuitas, dari konsep tentang ineransi Kitab Suci menurut kelompok Injili modern yang direpresentasikan oleh International Council of Biblical Inerrancy (ICBI), yang merumuskan Chicago Statements of Biblical Inerrancy (CSBI) dan dokumen-dokumen pelengkapnya, dengan menurut pandangan kelompok Kristen pra-modern atau Bapa-bapa Gereja. Komparasi ini dilakukan untuk mencari konstruksi doktrin ineransi yang (lebih) proporsional bagi kalangan Injili masa kini. Pada dasarnya, perbedaan di antara kedua kelompok tersebut bukan berkaitan dengan problem terminologis, tetapi lebih menunjukkan perbedaan metafisika, epistemologi, prasuposisi hermeneutika, dan kriteria justifikasi yang berbeda terhadap kesahihan Kitab Suci. Bapa-bapa Gereja lebih menekankan natur Kitab Suci sebagai teks spiritual dan supranatural sehingga tidak perlu selalu membuktikan kesahihannya secara historis-faktual, sementara kelompok Injili modern yang menekankan keselarasan wahyu Allah dengan pengetahuan manusia lebih menekankan dimensi akurasi dan historisitas teks sebagai basis ineransi.

In Yurakaré (isolate, Bolivia) conversations, content questions containing question words based on the pro-form ama 'who, which' are frequently recruited for functions other than seeking information, among them the expression of strong assertions with reversed polarity. Assertive uses of content questions with the question word amaja 'who, which (topic)' present the information contained in the utterance as an indisputable fact rather than a subjective claim by the speaker. They are often employed in interaction to provide a justification for a potentially disputable claim, action, or stance. By connecting two utterances in this way, assertive questions with amaja contribute to textual connectivity in conversation. • Content questions with question words based on ama 'who, which' in Yurakaré can convey reversed polarity strong assertions. • Assertive uses of content questions are pervasive in the corpus, while information-seeking uses are comparatively rare. • Assertive questions with amaja 'who, which (topic)' portray the information in the utterance as an indisputable fact. • A crucial function of assertive questions with amaja is to give a justification for a disputable claim, action, or stance. • Through their justification function, assertive questions with amaja contribute to textual connectivity. [ABSTRACT FROM AUTHOR]

The widespread popularity of digital technology has enabled the rapid dissemination of news. However, it has also led to the emergence of “fake news” and the development of a media ecosystem with serious prejudices. If early warnings about the source of fake news are received, this provides better outcomes in preventing its spread. Therefore, the issue of understanding and evaluating the credibility of media has received increasing attention. This work proposes a model of evaluating news media credibility called MiBeMC, which mimics the structure of human verification behavior in networks. Specifically, we first construct an intramodule information feature extractor to simulate the semantic analysis behavior of human information reading. Then, we design a similarity module to mimic the process of obtaining additional information. We also construct an aggregation module. This simulates human verification of correlated content. Finally, we apply regularized adversarial training strategy to train the MiBeMC model. The ablation study results demonstrate the effectiveness of MiBeMC. For the CLEF-task4 development and test dataset, the performance of the MiBeMC over state-of-the-art baseline methods is evaluated and found to be superior.

True crime narratives come in various medial forms. They all share the same subject crime - especially murder - but differ with respect to their self-understanding and the medial presentrulebook they rely on. While seemingly non-fictional, they oscillate between various selfattributions - journalistic or belletristic, truth-driven or mainly entertaining - or an amalgam reof these features, which is defined by the troubled relationship of fact and fiction. It is the challenging interplay of contexts which makes distinctrue crime narratives a highly interesting field charof investigation for transmedial working narratologists. This paper discusses the genre and its distinctive attributes by debating its status between factual-informing and fictional-enter-Estaining narrations, and taking its storytelling methods into focus, where true crime's troubled relationship of fact and fiction primarily evokes questions of (un-)reliability and trust-worthiness. [ABSTRACT FROM AUTHOR]

Copyright of Metafísica y Persona. Revista Sobre Filosofía, Conocimiento y Vida is the property of Universidad Popular Autonoma del Estado de Puebla A.C. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Analysis of the state and possible options for the development of modern humanities gives the grounds to assert the growing importance of the idea of historicity in culture and philosophy during the 20th and early 21st centuries. In this regard, both the disclosure of the concept of historicity and the substantiation of the significance of the principle of historicity, both for the methodology of historical and philosophical knowledge and for humanitarian knowledge in general become relevant. The author of this article carries out historical and philosophical reconstruction of historical issues in the philosophy of M. Heidegger and reveals the process of converting the idea of historicity into the principle of German existentialism. It is concluded that with the help of historicity M. Heidegger was able to present his own version of phenomenology on an existential basis. Seeing an existential achievement in historicity, M. Heidegger understood by it the direction of existence to the source, tradition, on the basis of this, the intentionality of consciousness was revealed as an essential property of existence: the direction of man as a finite being to its source, which allowed the German philosopher to interpret historicity as a tradition, the existential source of man, and how the temporality of human existence. The author of this article concludes that in the philosophy of M. Heidegger historicity was transformed from an idea into a principle on the basis of which the German philosopher revealed not only the historicity of Dasein, building a fundamental ontology and hermeneutics of factuality, but also tried to solve the problem of the history of being, going beyond the existential philosophy.

This contribution analyses two complex examples of the generic extension of lyric poetry in recent British literature. Tony Harrison’s film poem “The Shadow of Hiroshima” (1995) expands the lyric text into the visual dimension; Glyn Maxwell’s collection “The Sugar Mile” (2005) arranges a large number of individual lyric poems into a dramatic scenario. In both cases the generic transition is coupled with a further generic extension – the elaboration of a distinctly narrative sequentiality. In two important aspects the generic extension of these examples affects the rendering of a particular experience, namely the perception of and reaction to massive violence and destruction. One aspect concerns the organization of speech situation and perspective, especially the relation between a superordinate authorial voice and possible subordinate voices, the other aspect pertains to the status of the represented experience in the ambiguity between factuality and fictionality, characteristic of the stance of the lyric utterance in various periods throughout the history of poetry. In both respects the generic expansion in Harrison’s “The Shadow of Hiroshima” and in Maxwell‘s “The Sugar Mile” can be shown to utilize the representational potentials of lyric poetry in distinctly alternative directions.

This article deploys a rhetorical approach to fictionality and factuality to analyze how Julian Barnes builds the portraits of real individuals through these modes in The noise of time and The man in the red coat. Conceptualizing fictionality and factuality as rhetorical resources allows us to understand Barnes's writing as a separate form. His works foreground the limits and conventions of generic fiction, and he deliberately employs these resources as communicational strategies, subverting readers' expectations to both biographical and novelistic ends. Barnes uses the biographical mode as a resource for interpretive, affective, ethical, and aesthetic effects in fictional writing, taking his work beyond the novel proper. He also demonstrates the power of fictionality in nonfiction, which can be wielded as an effective tool for coming to terms with the uncertainties and difficulties of biography. In this sense, the novelistic narrative, and biographical craft on display in The noise of time and The man in the red coat enable Barnes to achieve the effect of truth-telling, which, in turn, strengthens generic assumptions about both fiction and fact in the story. Ultimately, his works blur the boundary between imagination and facts, and demand evaluation that takes into consideration the characteristics of both genres. [ABSTRACT FROM AUTHOR]

For all its theoretical prominence, medium remains an elusive concept, because it is not an analytic category created by theoreticians to serve a specific purpose, but a word of natural language, and like most of the words of language it has multiple senses. One way to address the issue of media is through their relations to other concepts. In this article I focus on genres, facts and truth as bearers of particularly important relations to media for both epistemological and narratological reasons. In contrast to models that regard genres as members of a system distinguished from each other through homogeneous criteria, I conceive individual genres as elements of an unstructured, expandable, heterogeneous and ever-changing list. In this approach, genres are defined positively—by their semantic content, their formal rules, or their pragmatic function—and new genres develop when new needs arise for communication. Media can be defined as distinct modes of communication, while genres are distinct forms of expression within media. But this distinction does not offer a fool-proof criterion of distinction, and it is often difficult to distinguish media from genres, especially in digital textuality. Truth, or more precisely the ability to claim truth, is not a property common to all members of a certain medium, but rather one that creates distinctions within media, as well as between them. Language-based media, film, photography and audio recording have the greatest power to claim truth: language-based ones, because they can articulate propositions; recordings, because they are based on mechanical capture of auditive or visual data that exist in the world. But most media can be used to tell either factual or fictional stories (with some exceptions discussed in the paper). This variability does not occur on the level of genre: all texts of the same genre share the same status with respect to truth and fictionality. [ABSTRACT FROM AUTHOR]

Copyright of Procesamiento del Lenguaje Natural is the property of Sociedad Espanola para el Procesamiento del Lenguaje Natural and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper we propose some arguments in favor of the terminological differentiation between agents in fictional settings (characters) and those in factual settings (people, actors, etc.), and nevertheless we suggest the applicability of the tools of narratology to factual journalistic texts. Then, we propose an analytical-descriptive model -conceived only as provisional- which, although it resorts to traditional tools of narratology "in the strict sense" (that is, the one that deals exclusively with fictional texts), tries to do justice to the aforementioned categorical difference between fictional and factual texts insofar as it is accompanied, in the presentation, by a series of mediations that allow the extrapolation from one setting to the other. This model will be explained on the basis of the analysis of a fragment of a recently published journalistic chronicle, referring to the death of the Argentine soccer player Diego Maradona. [ABSTRACT FROM AUTHOR]

The paper focuses on one’s perception of factuality in selected online news media. A group of university students of English were approached and presented with ten statements about Sweden and asked to evaluate their truthfulness. Half of the group (informed respondents) were then advised on the ways media use to infer a narrative onto the reader, potentially influencing the way they view events, while the other half (uninformed respondents) were not made aware of this fact. The respondents were then presented with a news report describing a specific event that took place in Sweden; however, half of each group were asked to read its tabloid description while the other halves were shown the event as reported by a broadsheet (both online). They were then asked to reevaluate the statements they were presented with before and decide whether their opinions changed based on the article they had just read. The results suggest that one is inclined to believe what they read, regardless whether the source seems reliable and whether they are aware of the fact media might manipulate their audiences.

The article deals with the language individual features in the contemporary Polish reportage based on the text Zabójca z miasta moreli: reportaże z Turcji by Witold Szabłowski. The author presents both the statistical analysis and the stylistic peculiarities of this reportage which was prized a prestigious Beata Pawlak Award in 2011 and contains important components characteristic for the journalistic style. The author uses the traditional syntactic model of Zenon Klemensiewicz and takes into consideration Stanisław Jodłowski’s research achievements. According to the postulates of Anna Wierzbicka, Maria Rachwałowa, Stanisław Mikołajczak, and Marek Ruszkowski, she selects a sample of 200 utterances which are examples of such narrative constructions that strongly indicate subjectiveness. In her research, firstly, she conducts a detailed analysis of the syntactic and statistical features of Szabłowski's text in comparison with the style of the contemporary Polish reportage. Secondly, she draws attention to stylistic unique features indicating the reporting syntax. As a result, the author notices the following language individual features in Zabójca z miasta moreli: reportaże z Turcji by Witold Szabłowski: 1) simple utterances and direct and indirect objects in the developed sentences, 2) developed clauses and adverbials, 3) objective hypotaxis, and 4) adverbial hypotaxis.

Current evidence provides support for the idea that time ismentally represented by spatial means, as a lateral mental timeline. However, available studies have tested only factual events,i.e., those which have occurred in the past or will occur in thefuture. In the present study we tested whether past and futurepotential events are also represented along the lateral mentaltimeline. In Experiment 1 participants categorized the temporalreference (past or future) of either factual or potential events andresponded by means of a lateralized (left or right) keypress.Factual events showed a space-time congruency effect thatreplicated prior findings: participants were faster to categorizepast events with the left hand and future events with the righthand than when using the opposite mapping. More importantly,this also ocurred for potential events. Experiment 2 replicatedthis finding using blocks comprising only potential events. Inorder to assess the degree of automaticity of the activation of themental timeline in these two kinds of events, Experiment 3 askedparticipants to judge whether the expressions referred to factualor potential events. In this case, there was no space-timecongruency effect, showing that the lateral timeline is activeonly when relevant to the task. Moreover, participants werefaster to categorize potential events with the left hand and factualevents with the right hand than when using the oppositemapping, suggesting for the first time a link between the mentalrepresentations of space and potentiality.

How do fictional tactics operate in what is often simplistically termed the “factual” or referential world of autobiographical discourse? Many narratologists view the rhetorical figure of metalepsis as distinctive to metafictional texts and constitutive of “fictional” narration, which they posit in antithesis to “factual” narration. But regarding autobiographical narrative only within the realm of fact ignores its complexity. While some theorists of autobiographical narrative have read it through the rhetorical figure of prosopopeia, as elaborated by Paul de Man in characterizing its “de-facement” of subjectivity, we argue that the figure of metalepsis operates productively in autobiographical narrative, particularly hybrid and experimental texts. The use of metalepsis shifts levels or layers of narration across temporal and spatial planes in ways that confuse its diegetic and metadiegetic levels. That is, autobiographical narrative, while filtered through the récit factuel, is not consistently fixed in an extratextual, ontologically unified, referential world. We pursue this argument by exploring four cases: the circuit of transfer in incomplete conversion narrative (Rowlandson’s A True History of the Captivity and Restoration of Mrs. Mary Rowlandson); palimsistic seepage between the Bildungsroman and trauma narrative (Eggers’ A Heartbreaking Work of Staggering Genius); narrative collision of “parallel universes” (Kaysen’s Girl, Interrupted); and unstable witness to collective trauma by a second-generation narrator (Spiegelman’s Maus: A Survivor’s Tale). Recent critical studies of metalepsis also probe how it presses at the limits of referentiality in life narratives by J. M. Coetzee, Javier Marías, and Christine Brooke-Rose. In sum, autobiographical narrative is by no means a referential, “monologic” mode easily differentiated from the dialogism and metadiscursivity of the novel; rather, it is a mode unsettled by figural, discursive, and temporal boundary-crossing.

Using video-recordings from one day of a theater project for young adults, this paper investigates how the meaning of novel verbal expressions is interactionally constituted and elaborated over the interactional history of a series of activities. We examine how the theater director introduces and instructs the group in the Chekhovian technique of acting, which is based on "imagining with the body," and how the imaginary elements of the technique are "brought into existence" in the language of the instructions. By tracking shifts in the instructor's use of the key expressions invisible/imaginary/inner body or movement through a series of exercises, we demonstrate how they are increasingly treated as real and perceivable bodily conduct. The analyses focus on the instructor's attribution of factual and agentive properties to these expressions, and the changes that these properties undergo over the series of instructions. This case demonstrates the significance of longitudinal processes for the establishment of shared meaning in social interaction. The study thereby contributes to the field of interactional semantics and to longitudinal studies of social interaction. • Instructions of the Chekhovian acting technique to a group of novices are examined. • The 'inner body' as a creative resource becomes increasingly established as common ground. • The meaning of 'inner/invisible/imaginary body' is constituted and enriched over an interactional history. • Bodily practices are used to convey the meaning of imaginary objects and actions. • Factual and agentive properties of expressions change over the interactional history. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to show that the theory of Functional Discourse Grammar constitutes a powerful model to account for the complex phenomenon of Neg-Raising in a consistent and systematic way. Previous studies on Neg-Raising, the phenomenon involving the transfer of the negative from a complement clause to the matrix clause, have traditionally characterized it in terms of syntactic and, more extensively, semantic criteria. These studies have focused on the delimitation of the type of verbs involved in this construction, since Neg-Raising is only allowed by some complement taking verbs, all related to certain kinds of modality. However, despite having been studied extensively, Neg-Raising remains an unclear phenomenon in certain respects. Taking as a point of departure the classification of Complement Clauses resulting from the application of the three parameters (Entity Type, Presupposition and Factuality) proposed within Functional Discourse Grammar, it is possible to arrive at a consistent delimitation of the constructions exhibiting Neg-Raising. Furthermore, the Morphological Level allows accounting for Neg- Raising without resorting to any kind of movement rule. It is through the operation of Morphological Encoding that the negative comes to occupy its position in the matrix clause.

Copyright of Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)