Hasil untuk "Style. Composition. Rhetoric"

Uma Meleti, Siyu Huang

Computer Vision-based Style Transfer techniques have been used for many years to represent artistic style. However, most contemporary methods have been restricted to the pixel domain; in other words, the style transfer approach has been modifying the image pixels to incorporate artistic style. However, real artistic work is made of brush strokes with different colors on a canvas. Pixel-based approaches are unnatural for representing these images. Hence, this paper discusses a style transfer method that represents the image in the brush stroke domain instead of the RGB domain, which has better visual improvement over pixel-based methods.

Ziqian Wang, Xianjun Xia, Chuanzeng Huang et al.

We present S$^2$Voice, the winning system of the Singing Voice Conversion Challenge (SVCC) 2025 for both the in-domain and zero-shot singing style conversion tracks. Built on the strong two-stage Vevo baseline, S$^2$Voice advances style control and robustness through several contributions. First, we integrate style embeddings into the autoregressive large language model (AR LLM) via a FiLM-style layer-norm conditioning and a style-aware cross-attention for enhanced fine-grained style modeling. Second, we introduce a global speaker embedding into the flow-matching transformer to improve timbre similarity. Third, we curate a large, high-quality singing corpus via an automated pipeline for web harvesting, vocal separation, and transcript refinement. Finally, we employ a multi-stage training strategy combining supervised fine-tuning (SFT) and direct preference optimization (DPO). Subjective listening tests confirm our system's superior performance: leading in style similarity and singer similarity for Task 1, and across naturalness, style similarity, and singer similarity for Task 2. Ablation studies demonstrate the effectiveness of our contributions in enhancing style fidelity, timbre preservation, and generalization. Audio samples are available~\footnote{https://honee-w.github.io/SVC-Challenge-Demo/}.

Chanhui Zhu

Large Language Models (LLMs) have demonstrated impressive capabilities in role-playing (RP); however, small Language Models (SLMs) with highly stylized personas remains a challenge due to data scarcity and the complexity of style disentanglement. Standard Supervised Fine-Tuning (SFT) often captures surface-level semantics while failing to reproduce the intricate syntactic and pragmatic nuances of a character, leading to "Out-Of-Character" (OOC) generation. To address this, we propose a Structured Style-Rewrite Framework that explicitly disentangles style into three interpretable dimensions: lexical signatures (via PMI), syntactic patterns (grounded in PCFG rules), and pragmatic style. Furthermore, we introduce an implicit style conditioning strategy via Chain-of-Thought (CoT) distillation. By leveraging explicit reasoning traces during training as a strong inductive bias, our approach aligns the model's latent representations with structured style features, enabling high-fidelity stylized generation without requiring explicit reasoning tokens during inference. Extensive experiments on a specific high-stylization domain (anime characters) demonstrate that our method enables a Qwen-1.7B model to outperform significantly larger baselines (e.g., 4B Vanilla SFT) in style consistency and semantic fidelity. Our approach offers a data-efficient paradigm for democratizing inference and deployment on consumer hardware.

Zexi Jia, Jinchao Zhang, Jie Zhou

Representing artistic style is challenging due to its deep entanglement with semantic content. We propose StyleDecoupler, an information-theoretic framework that leverages a key insight: multi-modal vision models encode both style and content, while uni-modal models suppress style to focus on content-invariant features. By using uni-modal representations as content-only references, we isolate pure style features from multi-modal embeddings through mutual information minimization. StyleDecoupler operates as a plug-and-play module on frozen Vision-Language Models without fine-tuning. We also introduce WeART, a large-scale benchmark of 280K artworks across 152 styles and 1,556 artists. Experiments show state-of-the-art performance on style retrieval across WeART and WikiART, while enabling applications like style relationship mapping and generative model evaluation. We release our method and dataset at this url.

Sam Cohen, Ravi Chugh

Program text is rendered using impoverished typographic styles. Beyond choice of fonts and syntax-highlighting colors, code editors and related tools utilize very few text decorations. These limited styles are, furthermore, applied in monolithic fashion, regardless of the programs and tasks at hand. We present the notion of _code style sheets_ for styling program text. Motivated by analogy to cascading style sheets (CSS) for styling HTML documents, code style sheets provide mechanisms for defining rules to select elements from an abstract syntax tree (AST) in order to style their corresponding visual representation. Technically, our selector language generalizes essential constructs from CSS to a programming-language setting with algebraic data types (such as ASTs). Practically, code style sheets allow ASTs to be styled granularly, based on semantic information -- such as the structure of abstract syntax, static type information, and corresponding run-time values -- as well as design choices on the part of authors and readers of a program. Because programs are heavily nested in structure, a key aspect of our design is a layout algorithm that renders nested, multiline text blocks more compactly than in existing box-based layout systems such as HTML. In this paper, we design and implement a code style sheets system for a subset of Haskell, using it to illustrate several code presentation and visualization tasks. These examples demonstrate that code style sheets provide a uniform framework for rendering programs in multivarious ways, which could be employed in future designs for text-based as well as structure editors.

Jiang Lin, Zili Yi

Video style transfer aims to alter the style of a video while preserving its content. Previous methods often struggle with content leakage and style misalignment, particularly when using image-driven approaches that aim to transfer precise styles. In this work, we introduce Trajectory Reset Attention Control (TRAC), a novel method that allows for high-quality style transfer while preserving content integrity. TRAC operates by resetting the denoising trajectory and enforcing attention control, thus enhancing content consistency while significantly reducing the computational costs against inversion-based methods. Additionally, a concept termed Style Medium is introduced to bridge the gap between content and style, enabling a more precise and harmonious transfer of stylistic elements. Building upon these concepts, we present a tuning-free framework that offers a stable, flexible, and efficient solution for both image and video style transfer. Experimental results demonstrate that our proposed framework accommodates a wide range of stylized outputs, from precise content preservation to the production of visually striking results with vibrant and expressive styles.

Zesheng Li, Shuaibo Li, Wei Ma et al.

As the application of neural radiance fields (NeRFs) in various 3D vision tasks continues to expand, numerous NeRF-based style transfer techniques have been developed. However, existing methods typically integrate style statistics into the original NeRF pipeline, often leading to suboptimal results in both content preservation and artistic stylization. In this paper, we present multi-level dynamic style transfer for NeRFs (MDS-NeRF), a novel approach that reengineers the NeRF pipeline specifically for stylization and incorporates an innovative dynamic style injection module. Particularly, we propose a multi-level feature adaptor that helps generate a multi-level feature grid representation from the content radiance field, effectively capturing the multi-scale spatial structure of the scene. In addition, we present a dynamic style injection module that learns to extract relevant style features and adaptively integrates them into the content patterns. The stylized multi-level features are then transformed into the final stylized view through our proposed multi-level cascade decoder. Furthermore, we extend our 3D style transfer method to support omni-view style transfer using 3D style references. Extensive experiments demonstrate that MDS-NeRF achieves outstanding performance for 3D style transfer, preserving multi-scale spatial structures while effectively transferring stylistic characteristics.

Loretta Victoria Ramirez

Initiating a transdisciplinary composition stretch pedagogy, I examine students’ excavations of archives to advance epistemological freedoms in support of rhetorical sovereignty in student writings. Grounded in Latinx studies first-year composition, I analyze archival projects wherein Chicanx students seek rhetorical inheritances, questing to locate textual homes and emotions of belonging.

Raul Fernandez-Fernandez, Juan G. Victores, Jennifer J. Gago et al.

Style Transfer has been proposed in a number of fields: fine arts, natural language processing, and fixed trajectories. We scale this concept up to control policies within a Deep Reinforcement Learning infrastructure. Each network is trained to maximize the expected reward, which typically encodes the goal of an action, and can be described as the content. The expressive power of deep neural networks enables encoding a secondary task, which can be described as the style. The Neural Policy Style Transfer (NPST) algorithm is proposed to transfer the style of one policy to another, while maintaining the content of the latter. Different policies are defined via Deep Q-Network architectures. These models are trained using demonstrations through Inverse Reinforcement Learning. Two different sets of user demonstrations are performed, one for content and other for style. Different styles are encoded as defined by user demonstrations. The generated policy is the result of feeding a content policy and a style policy to the NPST algorithm. Experiments are performed in a catch-ball game inspired by the Deep Reinforcement Learning classical Atari games; and a real-world painting scenario with a full-sized humanoid robot, based on previous works of the authors. The implementation of three different Q-Network architectures (Shallow, Deep and Deep Recurrent Q-Network) to encode the policies within the NPST framework is proposed and the results obtained in the experiments with each of these architectures compared.

Piero Latino

This article addresses a forgotten aspect of the history of ideas, namely the fact that one of the most important figures of the twentieth century, Ezra Pound, was influenced by Dantean esotericism and the medieval esoteric doctrine of love proposed in the nineteenth century by Gabriele Rossetti. It aims to show the relations between literature and esotericism, in the wake of a dialogue between the Middle Ages and the twentieth century. The study of this unexplored horizon of research is presented here through the epistolary exchange between Pound and Gabriele Rossetti’s granddaughter, Olivia Rossetti Agresti.

Francesca Restucci

Recensione di Giuliana Benvenuti (a cura di), La letteratura oggi. Romanzo, editoria, transmedialità (Einaudi, 2023).

Gabriele D'Amato

Recensione di Stefano Ballerio (a cura di), Morale della fabula. Biblion, 2023. 

Stuart A. Selber, Jim Ridolfo

The interview conducted with Stuart Selber by Jim Ridolfo in this special issue on “Challenging Rhetorical Traditions” provides an overview of Selber’s innovative and impactful career studying digital rhetoric. From Selber’s award-winning 2004 monograph Multiliteracies for a Digital Age to his newest monograph Institutional Literacies: Engaging Academic IT Contexts for Writing and Communication, we discuss how the literacies and landscapes of digital rhetoric have significantly changed and will continue to change as we wade into an era of increased digital privacy concerns, deep fakes, and Generative AI. Professor Selber’s work is an excellent example of how scholarship in contemporary digital rhetoric is revolutionizing the field of traditional rhetoric and the teaching of literacy, both re–elaborating its basic notions and expanding its future applications.

Alexander W. Morales

abstract:The phrase "Enlightenment rhetoric" typically denotes discourses bent on rejecting classical oratorical styles in favor of purportedly scientific ones. Likewise, scholars often associate Enlightenment rhetorical styles with the scientific epistemologies that emerged in the seventeenth and eighteenth centuries. This article reconsiders Enlightenment rhetoric by analyzing David Hume's 1742 essay "Of Eloquence." More specifically, the article argues that the Scottish Enlightenment context necessitated a rhetoric that compensated for the discursive limitations of new scientific worldviews. In so doing, the article argues that Hume verbalizes the transcendent dimension of classical eloquence in ways commensurate with the emphasis on perspicuity emerging in English culture, a rhetorical maneuver that the author calls discursive transcendence. Hume's "Of Eloquence" thus serves as a case study demonstrating how an Enlightenment writer advanced a rhetoric that both rejects and pulls from prior rhetorical traditions, constituting a new understanding of Enlightenment rhetoric.

Giuliano Cenati

I processi di trasformazione che hanno interessato il campo fumettistico al crocevia del secolo si allacciano strettamente alla digitalizzazione e all’integrazione del sistema mediale. Accanto all’affermazione del graphic novel, che permette al fumetto di convergere verso archi narrativi organici di matrice romanzesca, si delineano tendenze al riscatto dei generi brevi del fumetto classico: la striscia umoristica, la vignetta fulminante, la tavola autoconclusiva. L’accrescimento vertiginoso dei flussi sviluppati dal web favorisce la trasposizione, il ricircolo, la stratificazione di simili schegge fumettistiche, tra comunicazione analogica e comunicazione digitale. Si tratta di proposte che insorgono dal basso, da protagonisti della compartecipazione creativa socialmediale o da rinnovatori della cultura underground. L’intreccio fra interazione estetica istituzionale e medialità autogestita, pur vincolato all’oligopolio delle piattaforme, dischiude originali opportunità di differenziazione e arricchimento dell’esperienza fumettistica.

Olena Kholodkova

Statement of the problem. The issue of musical rhetoric has not lost its relevance for musicologists for almost a century. Unfortunately, early treatises do not provide a clear definition of this subject. Therefore, during the process of developing perceptions about it, some stereotypes have emerged, which have led to misunderstandings that require analysis and explanation. One of these stereotypes is the consideration of rhetoric as a semiotic system. Recent research and publications. The chosen problematicy has determined the reference to four groups of studies. The first group includes the works focusing on the subject of semiotics, the relationship between semiotics and music, and critical comparative views on the semiotic system (Dunsby, 1983; Turino, 1999; Dahl, 2019). A thorough critical analysis of various methodological approaches to semiotic concepts is presented in the studies of N. Cook (1996) and K. Guczalski (2005). The second group comprises important historical “rhetorical” treatises, without which it is impossible to develop an appropriate approach to the problems of musical rhetoric (Nucius, 1613; Kircher, 1650; Bernhard, 1660; Printz, 1678; Praetorius/Lampl, 1957; Mattheson/Lenneberg, 1958). The third group of researches consists of modern works, in which musical rhetoric is considered as a set of rhetorical figures with certain symbolic sense (Cameron, 2006; Komenda, 2010; Popova, 2015; Zgółka, 2016; Lebedev, 2016; Bashmakova, 2017). And the last group contains research works with a critical approach to stereotypical interpretations of musical rhetorical figures. G. G. Butler (1977) examines the musical processes related to the use of figures taking in account the rules of Dispositio canon. R. Callahan (2010) and B. Karosi (2014) explore the figures as a component of improvisation. B. Vickers (1984) considers it reasonable and logical that the greatest attention of scholars was paid to the rhetorical canon Elocutio, which operates with rhetorical patterns, but takes a critical approach to the use of verbal and rhetorical terminology in music. The analysis and comparison of the aforementioned studies allows to refute the idea of the expediency of absorption of the rhetorical system by the semiotic one. Objectives, methods, and novelty of the research. The purpose of the study is to differ the systems of rhetoric and semiotic through the demonstration that rhetoric is not just a set of rhetorical figures with a certain semantics, but can be interpreted as a system of composition (poetics). Separating the perceptions of rhetoric from the semiotic projections, determining rhetoric as a holistic system and highlighting the differences between these two spheres actualizes the topic of the study. Such an analytical approach is first realized on the example of chamber music and Concerto for violins without bass by G. Ph. Telemann. The study involves the use of historical, comparative, semantic, and typological methods. Results and conclusion. The study has shown that musical rhetoric is a much wider concept than a semiotic system, as it includes the principles of composition, performance issues. It appears to be a clear canonical structure, on the basis of which an appropriate comprehensive analysis of the composition can be made and a convincing performance version can be prepared. Rhetorical figures, the presence of which is not denied, in contrast to a “sign” or “symbol”, do not have a stable semantic meaning, but rather obtain it only in the context of style, genre, harmonic, counterpoint and other forms of expression. Semiotics is currently presented as a collection of methods with numerous options and ways of understanding and interpreting them. Based on the statements above, we come to the conclusion that rhetoric cannot be interpreted as a semiotic system, therefore, in the process of analysis Baroque music, it does not seem necessary to turn to semiotics. However, if a scholar or interpreter considers this approach reasonable, this should not deter them from attempting to gain a deeper knowledge of a musical work and from referring to various concepts, which, nevertheless, are subject to argumentation. We also do not exclude the possibility of further separate research on this particular aspect.

Scott R. Stroud

Democracy seems torn between the ideal search for harmony and unity and the reality of polarizing differences and injustices. Harsh criticism both seems a useful response to societal problems and appears to undermine the search for this ideal of unity. This article engages Bhimrao Ambedkar, the Indian statesman and anti-caste philosopher, to explore this tension in democratic rhetoric. By placing his harsh critique of Hinduism in Riddles in Hinduism in conversation with his crafting of fraternity and love as ideals in The Buddha and His Dhamma, we can perceive the tense dialectic between the democratic injunction to seek community with opponents and the very human impulse to harshly criticize those perpetuating injustice. Analyzing archival drafts of his work that capture his processes of revision and invention, I extract a sense of tentative critique as an entailed form of Ambedkar’s reconstructive rhetoric. Such a tentative rhetorical style reduces the tensions between loving one’s enemies and harshly criticizing one’s opponents by introducing ways to lessen the impact of excessive critique, showing Ambedkar’s potential as an innovative thinker in the global history of rhetoric.

Ananda Padhmanabhan Suresh, Sanjana Jain, Pavit Noinongyao et al.

In recent years, language-driven artistic style transfer has emerged as a new type of style transfer technique, eliminating the need for a reference style image by using natural language descriptions of the style. The first model to achieve this, called CLIPstyler, has demonstrated impressive stylisation results. However, its lengthy optimisation procedure at runtime for each query limits its suitability for many practical applications. In this work, we present FastCLIPstyler, a generalised text-based image style transfer model capable of stylising images in a single forward pass for arbitrary text inputs. Furthermore, we introduce EdgeCLIPstyler, a lightweight model designed for compatibility with resource-constrained devices. Through quantitative and qualitative comparisons with state-of-the-art approaches, we demonstrate that our models achieve superior stylisation quality based on measurable metrics while offering significantly improved runtime efficiency, particularly on edge devices.

Oleg GARAZ

Essentially, the emergence of the concept of style in European musical thinking is the consequence of the shift produced at the end of the Renaissance. The trend towards the simplification of language and musical expression and the subordination of both to the notional-poetic discourse determines the unimaginable: the hegemony of rhetoric and, implicitly, of style as a rhetorical sub-category having the function of organizing and controlling musical suggestiveness – the taxonomy of musically expressible emotions. It is also during the period of the musical Baroque that the practical insertion of the concept of style begins by cohabiting with the idea of genre in all its three forms: as a specific habitat for the performance of the musical act, as a composition coefficient and equally as a type of ethos. This confusion will persist for the entire period of use of the concept of style, which gradually fades as the insertion of postmodernism gathers momentum. As a tool for functional and semantic dislocation, style also acts in relation to the term canon, the only value reference until the shift from the mathematical-cosmic quadrivium to the discursive-philological trivium (the Del Bene moment, 1586). Apart from taking over the attributions from the concept of genre, style also claims the function of canon as the exclusive value reference. Starting with the Baroque, we already speak of the stylistic canon. The complete absorption of the canonical function by style takes place during the Viennese Classicism, when style becomes a personalizing-biological reference, attached to the musical thinking of a prominent personality (Wilhelm von Lenz, Beethoven et ses trois styles, 1855). Musical Romanticism raises the understanding of style to the level of an almost absolute exclusivity, on a par with the transcendentalism displayed by the genius-musician (the Liszt-Wagner paradigm). The dissipation of Romanticism determines the return to the identification through ethos: verism, expressionism, impressionism-symbolism and naturalism, so that it is only during the first musical modernism (1900-1914) that we witness the return to the purely technical Renaissance acceptance: the atonal style, during the second modernism (1918-1939) – the dodecaphonic style, the serial style, and further, during the third modernism (1946-1968) – the style of stochastic music, the style of aleatoric music, the minimalist style etc. The uselessness of the concept of style as a procedure of identification through differentiation (Boris Asafiev) and obviously as a meta-narrative is already revealed in musical postmodernism, with all the three anti-metanarrative “ideologies” of postmodernism: the ideology of distrust, the ideology of the fragment and the ideology of recovery.

Yukihiro Kominami

abstract:Melville's linguistic style is well known for its ungrammatical, or solecistic, sentences, which have long been attributed to his lack of education or inadvertent oversights. Against this conventional view, John Bryant (2001) and Michael S. Kearns (1983) regard grammatical errors in Melville's full-length novels as rhetorical devices, which urges a broader reconsideration of solecisms in Melville's short pieces. The metrical aspect of his short story "The Piazza" suggests the author's acute awareness of rhetorical usage in the story's construction, and so if solecism is to be regarded as a consciously rhetorical feature of Melville's style, then his deployment of the device in the story may be taken as evidence of its broader use in his short pieces as well as novels. This article focuses on solecisms in Melville's "The Piazza," and argues that their usage is intentional and rhetorical.