Notice bibliographique
Résumé
Ted Williams: There Goes the Greatest Hitter That Ever Lived. Produced by Ross Greenburg and Rick Bernstein. HBO Sports, 2009. This is an excellent documentary film on the Hall of Fame career and tempestuous life of Ted Williams, variously nicknamed the Kid, Splendid Splinter, Thumper, and Teddy Ballgame. The film seamlessly combines the narration of Liev Schreiber and a triumphal soundtrack with the images and the words of Williams, his friends, his teammates, reporters, family members, and sports commentators to create an incisive view of the supremely talented, often embattled, fiercely independent iconoclast. Great athletes are celebrated, not only for their superb physical accomplishments, but also for their ability to generate interesting narratives that can be analyzed and retold to future fans. By this standard, the multiple narratives which comprise the life of Ted Williams are a great subject. Each narrative is introduced quickly at the beginning of the video through scenes of Ted in his most iconic poses: majestically swinging the bat, flying jets during the Korean War, blasting his favorite antagonists (the knights of the keyboard), and practicing his second favorite sport--fishing. All of these facets of his life are explored and combined into the main narrative of a troubled young man who had one great talent--hitting a baseball--which became his foundation and obsession, the one thing he could control in his life. He did not play another sport so that he could concentrate all of his gangly energy on perfecting the swing, the graceful arc of his fluid left-handed stroke. Batting success is one of the hardest athletic achievements, and William's prowess gave him the preeminence which he wanted and fed off. He was the perfectionist who rarely compromised his batting standards. His detractors pointed out that if he had swung at balls out of the strike zone he could have helped his team more. He replied that he might have developed bad habits, so he took the walk, fattened his on-base percentage, and satisfied his own standards of excellence. Raised in San Diego by his mother, who was deserted by her alcoholic husband and was devoted to the Salvation Army, Ted was embarrassed by her religious zeal and had a strained relationship with her; he was essentially a latchkey kid who spent his time playing baseball and practicing his swing with a broomstick. Appropriately, the film presents repeated scenes of Ted gripping a bat; swinging in batting practice; hitting home runs; breaking into his quick, bent-neck trot; and expounding upon the science of batting in his loud gee-whiz style. More specifically, his batting prowess is depicted in three famous games. Williams is shown winning the 1941 All-Star game with a two-out homer in the bottom of the ninth inning with two men on base, including his foremost rival Joe DiMaggio. (1) The Kid skipped happily around the bases clapping his hands in celebration, revealing his boyish joy. He ranked this home run as the most exciting of his career because of the setting. The second, and most significant, example of his batting heroism occurred at the end of the same year when he was on the threshold of hitting the magical .400. On the last day of the season he had reached .3996, and manager Joe Cronin planned to have him sit out the doubleheader with the Philadelphia Athletics. But Ted demanded to play, and he went 6-8, achieving a .406 average and becoming the last man to hit .400. The third occasion took place in Fenway Park on September 28, 1960, when he made his final appearance at the plate in the eighth inning of a meaningless game against the Orioles. On this dark, chilly day before about eleven thousand stalwarts, Williams homered to center field off Jack Fisher. This home run was celebrated by John Updike in his classic essay Hub Fans Bid Kid Adieu, the last words of which are voiced in the film by Robert Redford. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,127 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».