Notice bibliographique
Résumé
have to write what have to write about, including question of life continuing beyond our ordinary senses.--Amy Tan In Amy Tan's novel The Hundred Secret Senses (1995), world of yin and world of yang are presented adjacently and ambiguously. As Laura Shapiro observes, Tan's book is somewhat like a hologram: this way and find Chinese-Americans shopping and arguing in San Francisco; turn that way and Chinese of Changmian village in 1864 are fleeing into hills to hide from rampaging Manchus. (1) Readers can easily find cross-references of same personae and their reincarnations in both yin and yang existences. As we move deeper into heart of book, we find that yin/yang hologram produces a rebounding circularity that indicates an endless narrative recursion in which narrative levels are relative without a clear hierarchy. In Olivia's dreamy narratives, Kwan is a character who reads and interprets Olivia's life against numerous yin characters. At same time, Olivia, as well as her previous incarnations, is also a character in Kwan's stories about world of yin. In other words, two main characters create each other in their own narratives, interpreting each other's lives in relation to their previous existences. These narratives, at once overarching and kaleidoscopic, shift without warning from one level to another, and from one existence to another. Moreover, stories of their overlapping lives and deaths, which span two continents and two centuries, are convoluted in a manner of recursion: all versions/visions seem to coexist in a Chinese box of stories within stories and dreams within dreams. With my half-awake mind, says Olivia, I would trace my way back to previous dream, then one before that, a dozen lives, and sometimes their deaths. (2) If we are to read Olivia's dreams and Kwan's stories about world of yin as a series of echoing narratives, distinction between dream and reality and between yin and yang is not clear-cut. The irrational states of world of yin are correlated to real situations and events in world of yang. The process of relating life of yang to world of yin has intricate implications. On one hand, puzzling hologram connects with broad cultural, aesthetic, and spiritual issues; on other, suggests that Tan's art cannot be understood entirely in terms of Western rationalism. In more than one respect, Tan's novel moves toward subversion of our rational perception of life, elaborating on the question of life continuing beyond our ordinary senses. (3) The meaning of novel is articulated through interplay and cooptation of its related narratives. Through a process of reverberation, readers slowly realize that stories of Olivia and Kwan in twentieth-century San Francisco are actually an incarnated rendition of their previous lives in nineteenth-century Changmian. Furthermore, moving through complex work of Tan's hologram, we find in relation of yin and yang that boundaries of time and space collapse. The links between San Francisco and Changmian provide foundation for both plot and narrative developments. Through relation of yin and yang worlds, Tan attempts to present a broader vision of various dimensions of life, a vision that is revealed only through most elaborate and even conjectural strategy. The novel requires readers to adjust their ordinary senses to be willing to intertwine real and unreal. Kwan's unshakeable belief in world of yin presents a big challenge for Olivia's sense of reality. At first, Olivia is annoyed by Kwan's constant communication with people from world of yin: For most of my childhood, had to struggle not to see world way Kwan described it (54). Growing up in modern Western civilization, Olivia is influenced by a scientific view of life and universe, which emphasizes observable realities of material world, while playing down or overlooking spiritual aspects of life. …
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) | 0,003 | 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 ».