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We study the effects of actors audience-specific reputations on their levels of success with different audiences in the same field. Extending recent work that has emphasized the presence of multiple audiences with different concerns, we demonstrate that considering audience specificity leads to an improved understanding of reputation effects. Using data on emerging artists in the field of contemporary art from 2001 to 2010, we investigate the manner in which artists audience-specific reputations affect their subsequent success with two distinct audiences: museums and galleries. Our findings suggest that audience-specific reputations have systematically different effects with respect to success with museums and galleries. Our findings also illuminate the extent to which audience-specific reputations are relevant for emerging research on the contingent effects of reputation. In particular, our findings support our predictions that audiences differ from one another in terms of the extent to which other signals (specifically, status and interaction with other audiences) enhance or reduce the value of audience-specific reputations. Our study thus advances theory by providing empirical evidence for the value of incorporating audience-specific reputations into the general study of reputation. Funding Agencies|Oxford University Centre for Corporate Reputation; European Research Council under the European Union [324233]; Riksbankens Jubileumsfond [DNR M12-0301:1]

A simple method for categorizing texts into predetermined text genre categories using the statistical standard technique of discriminant analysis is demonstrated with application to the Brown corpus. Discriminant analysis makes it possible use a large number of parameters that may be specific for a certain corpus or information stream, and combine them into a small number of functions, with the parameters weighted on basis of how useful they are for discriminating text genres. An application to information retrieval is discussed. Comment: 6 pages, LaTeX, In proceedings of COLING 94

The patterns in which the syntax of different languages converges and diverges are often used to inform work on cross-lingual transfer. Nevertheless, little empirical work has been done on quantifying the prevalence of different syntactic divergences across language pairs. We propose a framework for extracting divergence patterns for any language pair from a parallel corpus, building on Universal Dependencies. We show that our framework provides a detailed picture of cross-language divergences, generalizes previous approaches, and lends itself to full automation. We further present a novel dataset, a manually word-aligned subset of the Parallel UD corpus in five languages, and use it to perform a detailed corpus study. We demonstrate the usefulness of the resulting analysis by showing that it can help account for performance patterns of a cross-lingual parser.

The article deals with the role that Baghdad has played in Arabic poetry since its foundation in 762 AD and throughout the history of Arabic literature. Founded at a time when Arabic poetry was at its peak, the glorious image of the city perched on both banks of the Tigris ignited the imagination of subsequent generations of poets to carve it in verse and enshrine it in the mantle of universal myth. There were also periods when Baghdad claimed attention because of its dramatic decline and disintegration as well as for being a theater for bloody wars, but even in such tragic times the image of an alternative, utopian Baghdad, as a metaphor, remained immune to the vicissitudes of time and the dreary reality of the earthly city. The sway of Baghdad, the fabled city of Hārūn al-Rashīd and the enchanted land of A Thousand and One Nights, continues to capture the imagination of successive generations of poets, writers, and artists the world over. Neither East nor West seems immune to its irresistible charm. https://doi.org/10.33063/diva-437598

This paper makes two related claims: first I argue that the trope of the island works as a hieroglyph of the apartheid state’s disavowal of Robben Island and all that it represented; and secondly, I illustrate how the texts under analysis also configure the apartheid state as the disavowed of the international community. To do this, I discuss Athol Fugard, John Kani, and Winston Ntshona’s The Island (1973) and J.M. Coetzee’s Foe (1986), both of which thematize South African economic and moral isolation through the trope of the island. Both these texts dramatize the moral conditions of life under apartheid within a distinctly transnational frame. As such, I argue, they de-territorialize apartheid and read it as folded-in to its global moment.

This study explored the language and literacy practices of multilingual families in Cyprus, Estonia, Germany, Israel, and Sweden during the COVID-19 pandemic. The study focuses on the different roles of family members in language transmission in order to understand whether these practices might have been influenced by the COVID-19 pandemic. We aimed to answer two key research questions: RQ1, whether and how the pandemic conditions affected the heritage language, societal language acquisition, and heritage language literacy learning environments in the five countries examined (Cyprus, Estonia, Germany, Israel, and Sweden); and RQ2, what is the nature of child and parental agency in facilitation of the possible changes in the corresponding five countries? Fifty semi-structured interviews (ten in each country) were conducted. The data highlighted the factors that triggered changes in family language policy during the pandemic and the role of the child’s agency, parents, extended family, and social network during this period. Based on our findings, we argue that the pandemic conditions gave the children new opportunities for agency when it comes to language and literacy choice and communication with extended family members. This even facilitated new sources of input and suggested the active role of a child as an agent in shaping family language policy in the family.