Review Comment:
REVIEW semantic web journal POSTDATA network of ontologies
This paper describes an ontology (composed by several modules) to represent knowledge concerning the domain of the poetry.
I have to say that I'm an expert neither in poetry nor in most of the ontologies in Digital Humanities cited in the paper. Said that a consistent part of the paper is devoted to the listing of the main classes and relations in the modules of the ontology without discussing them from a conceptual perspective and without introducing a complete example that would help in understanding the modeling choices. In addition, the paper provides very few information about (1) the methodology followed to obtain the ontology (and what is called "conceptual domain model"), (2) the way the proposed ontology compares with other ontologies on this topic and (3) the evaluation of the proposed ontology, e.g., in terms of quality parameters, in terms of its role in applications or in use-case experiments. The result is a a plain description of the components of the ontology that provides neither a clear explanation/analysis of the underlying (conceptual) choices nor clear reasons for a user to adopt this ontology (actually this goes against what required for a paper of type "Descriptions of Ontologies"). Furthermore, in several points the adopted terminology seems quite imprecise and confusing to me.
(p.1) "From the philological point of view, there is no uniform academic approach to analyze, classify or study the different poetic manifestations, and the divergence of theories is even bigger when comparing poetry schools from different languages and periods."
In several points the authors stress the heterogeneity of approaches and of theoretical points of view on poetry. However, it seems that all the 25 repositories analyzed do not rise any problem of consistency or disagreement, the proposed ontology seems to incorporate all of them with no integration problem (the authors just discuss problems linked to coverage or terminology not about conceptual/ontological conflicts). In my view, this lack of conceptual analysis is a very weak point of the paper.
A few lines later the authors claim that there "is a great variety of terminologies to explain similar metrical phenomena through the different poetic systems whose correspondences have been hardly studied." This means that even at the terminological level the link between different positions has not been studied. Did the authors study these links to produce the conceptual domain model/ontology? If yes, what methodological and theoretical tools have they used?
(p.2) "it is necessary to standardize metadata and vocabularies at a philological level to be able to climb up the semantic layer and link data between different traditions"
Standardization is a way to (partially) support the integration of data. However, alternatively one can try to introduce on formal links between different conceptual schemas/ontologies without relying on a single standard ontology. I don't know if this strategy potentially applies to the case of poetry, but in general - and especially outside a purely scientific domain - it is very difficult to individuate "the representation of a universal and complete poetry domain" which is accepted by all the experts in the domain
(p.2) "there is not a conceptual model of ontology referred to metrics and poetry "
what is a conceptual model of ontology? please explain
(p.3) "The most significant entities [in FRBR] are Work, Expression, Manifestation, and Item, which represent the different ways of conceiving a literary work as a text or physical resource."
In the postdata-core ontology pdcore:PeoticWork is a specialization of Work and Redaction is a specialization of Expression, but no reference to Manifestation and Item is provided in any of the discussed modules. It is then not clear to me whether the authors embrace all these 4 FRBR concepts (but some of them are introduced in modules still under development) or whether they rule out some of them (and in any case their choice is not motivated/explained).
This is just an example of the lack of comparison with work that already exists and of conceptual analysis in general.
Another example: the authors claim that the Text Encoding Initiative (TEI) has a verse module that allows to "annotate forms and structures of poetic works". They also claim that "the relationship between ontological models and TEI has been taken into consideration very seriously in the last years". However, TEI is not mentioned in the following of the paper.
(p.4) "The first step for tackling this work was to build a conceptual domain model of European poetry (...) The result is a European Poetry Domain Model (DM-EP) with 40 entities, 494 attributes, and 409 relationships."
This confuses me. What is a conceptual domain model of European poetry? Is the postdata ontology (the whole network) a conceptual model of European poetry (formalized in OWL rather that in another language) or not? What is the difference between DM-EP and the postdata ontology? Is DM-EP informal or it is specified by using a formal language (different from owl)? And again, no detail is provided about how DM-EP has been built, what difficulties have been encountered, how eventual conflicts has been resolved, etc.
(p.4) "The classes, relations and axioms of the ontology must be thematically related or complete the semantics of another ontology entity."
I don't understand this sentence. Furthermore, please clarify what is an ontology entity.
(p.4) "the underlying semantics of each class is related to the area of knowledge."
again, I don't understand this sentence
(p.4) "it is a self-contained ontological module that preserves the relationships with other ontologies."
what does it mean? in which sense the module "preserves" the relationships with other ontologies?
(p.4) "a high degree of cohesion is achieved, the ontology functionality is described and avoids coupling with other ontologies of the network."
what is "the ontology functionality"? In which sense it is described?
(p.4) "Moreover, we have placed particular emphasis on establishing both the domains and the ranges of the properties. It allows defining its semantics completely and reducing ambiguity."
Are the authors suggesting that by establishing the domain and the range of a relation one semantically characterizes such relation in a complete way?
(p.4) "After each iteration"
It would maybe useful to better understand of what an iteration consists
(p.5) "Likewise, the definition of cardinal, and universal and existential restrictions in classes have been undertaken to prevent inconsistencies and avoid semantic conflicts."
I don't understand. Is the role of cardinal/existential restrictions to avoid inconsistencies and conflicts?
(p.5) "In the poetry domain, a poetic work, a poem, can be represented by different manifestations or versions. Of course, it is usual to find a set of poems grouped, for example, in a book. These situations are modeled in the ontology, as well. Figure 3."
If the term "manifestation" is used in the sense introduced in FRBR, then I don't see manifestations in fig.3. (redaction is a specialization of expression not manifestation)
(p.5) "The most significant classes of this ontology are
pdcore:PoeticWork, pdcore:Redaction, and pdcore:Ensemble"
maybe, when the scope of the classes is clear enough (as in this case) the module prefix ("pdcore" in this case) could be omitted
(p.6) "This core ontology not only contains the necessary information about a poetic work but a set of common properties that have the same semantics in all the classes in which they are defined."
please, specify what does it mean for properties to "have the same semantics in all the classes in which they are defined"
(p.6) "we have identified a set of controlled vocabularies used as ranges of the following properties in the classes."
if the authors need more space to better explain the methodology and rationale behind the proposed ontology, the details on controlled vocabularies could be deleted (also at the end of section 4.3)
(p.8)
I'm not sure to understand the example depicted in fig.5. Is this an example of a stanza composed by two lines: "Mo chion dot..." is the (content of the) first line and "a mhic na flatha..." is the (content of the) second line? If this is the case, first I don't see why "a mhic na flatha..." is attached to the stanza [11161] and not to the line [11152]; second I don't see why only the first line is attached to OrderedLineList[1115] or, vice versa, why not attaching both lines to OrderedStanzaList[1116].
Actually, it would be more clear to at least explicitly indicate what is the example taken into account before trying to represent it using the proposed ontology. One could also consider to use this example, opportunely extended, to show how the different classes and relations in the whole ontology can be instantiated, and then to better illustrate how the model works.
-----
TYPOS
-----
(p.2) "the impossibility of having ways of processing this information in a *completely* and *efficiently* have..."
(p.3) "These ontologies can cover the descriptive aspects of the works and their forms of expression and manifestation, but *it* does not..."
(p.4) "scientific. communities"
(p.7) "¡Error! No se encuentra el origen de la referencia.."
(p.8) "These ontologies have been enriched with more classes used to store the prosodic analysis data"
(??) this ontology has been enriched...
|