Coupling conceptual modeling and rules for the annotation of dramatic media

Abstract

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

Visual Metaphors for Semantic Cultural Heritage

“…Metadata may include, for example, the relations of heritage objects with locations, artists, historical events, etc. Although professional annotators are preferred, metadata may be also contributed by amateurs through crowd sourcing, as recently proposed by [27], or may be created through semi-automatic annotation as proposed by [28], [29], [30].…”

Qualifying and Quantifying Interestingness in Dramatic Situations

“…This kind of visual representation shares similarities with other narrative formalisms such as Drammar [10], plot units [8], or DramaBank [5]. The main difference here is that we are not necessarily trying to capture all actions in a scene, as it is the rule when adopting an annotation approach, but instead we are constructing an abstraction of a scene, representing what is considered as the core meaning of the scene.…”

Bringing Authoritative Models to Computational Drama (Encoding Knebel’s Action Analysis)

“…Taking as input this set of instructions (yet informal) we may now proceed toward a formal representation using a computational ontology (Drammar), described and tested in other occasions [20] [16] [17] [14]. For the sake of brevity, here we encode only the first part of the scene, focusing on the subclasses that represent structures and entities of the drama, thus excluding the linguistic representation and the references to external knowledge (we do not describe the corresponding FrameNet frames).…”

“…We hope to spread the use of ontological representation as tool for analysing and annotating dramatic texts in a productive and didactic environment. Additionally, this annotation can also be augmented with automatic reasoning, as demonstrated in [14], where we have calculated characters' appraisal of a given set of emotions via SWRL rules.…”