Redefining the Modern: Essays on Literature and Society in Honor of Joseph Wiesenfarth (review)
Notice bibliographique
Résumé
Reviewed by: Redefining the Modern: Essays on Literature and Society in Honor of Joseph Wiesenfarth Allan Hepburn (bio) William Baker and Ira B. Nadel , editors. Redefining the Modern: Essays on Literature and Society in Honor of Joseph WiesenfarthFairleigh Dickinson University Press. 222. US $47.50 Redefining the Modern is a miscellany. It includes eight scholarly essays, an interview with Margaret Drabble, twenty-eight letters written by George Eliot and George H. Lewes, a flippant essay on God and comedy, and information about Joseph Wiesenfarth, to whom this collection is dedicated. The introduction claims that modernists perpetrate 'redefinitions and realignments' of culture in response to Victorian predecessors. These essays do not demonstrate such redefinitions or realignments, except by happenstance. Most scholars writing in this volume simply take on an interpretive problem without any redefinition of 'the modern' per se. The quality of the essays is uneven - an inherent problem in an edited collection but not a fatal one. James R. Kincaid's contribution, 'God's Disappeared,' slides into irrelevance, unscholarliness, and silliness. Like a self-important undergraduate, Kincaid writes, 'It is important first to secure a correct understanding (my understanding) of comedy.' Ironic grandiosity does not help this essay: 'Comedy doesn't live free or die; it lives free and lives.' Superb essays by Joseph A. Kestner, Thomas Schaub, and Ira Nadel compensate for Kincaid's. Kestner supplements scholarship on New Women with a detailed analysis of Grant Allen's Miss Cayley's Adventures and 1890s magazine debates about women's adventures and women as adventuresses. Schaub's essay on Richard Wright's Native Son contrasts Bigger Thomas's private world of feeling with the public world of action, racism, and justice. By focusing on household space, Schaub demonstrates that race inflects domestic relations: African Americans sleep in the basement by the furnace; white folks bunk on the second floor. Ira Nadel expertly untangles intertextual connections between Charles Dickens's Our Mutual Friend and James Joyce's Finnegans Wake. Garbage heaps generate literature, as both Dickens's and Joyce's representations of refuse, bits of paper, and acronyms suggest. 'From the litter comes the letter as from the dump,' Joyce writes. Coincidentally, Nadel refers to texts as riddles, a notion that Schaub pursues in Native Son. This connection is probably accidental, but it confers some unity on a volume of otherwise disparate essays. Affording another kind of unity, Jane Austen frames this volume. In his essay on comedy, Paul Goetsch manoeuvres through instances of satirical and corrective laughter in Pride and Prejudice. When Lydia elopes with Wickham, she claims that she can hardly write because she is laughing so hard. Laughter for Lydia brings no improvement; she remains committed to fun even when her marriage isolates and financially distresses her. [End Page 352] Goetsch cites conduct books that instruct women not to laugh aloud for fear of risking vulgarity. Writing about Margaret Oliphant's Miss Marjori-banks as a parody of George Eliot's Romola, Elizabeth Winston invokes Austen's Emma as a plot about absent mothers and mentors. An illuminating interview with Margaret Drabble about Jane Austen concludes this volume. Originally broadcast on radio in 1998, this exchange between Drabble and Emily Auerbach is filled with insights about gender and influence. As the general editor of The Oxford Companion to English Literature, Drabble is ideally placed to comment on Austen's abiding impact on writers over the last two centuries. Drabble expresses anxiety about imitating Austen's marriage plots in her own narratives. She extols Austen's comedy: 'I think she's one of the funniest writers who ever wrote. I think there are sublime moments of comedy - some of them satiric comedy, some of them pure fun; moments of repartee, moments of comeback.' Drabble comments adroitly on the differences between men and women in their appreciation, or dismissal, of Austen. Charlotte Brontë and Mark Twain disliked Austen, yet Drabble herself has absorbed Austen's comic vision and technique into her world view. Errors of syntax, spelling, and punctuation throughout Redefining the Modern escaped the editors' notice. 'Christabel LaMotte' in Possession is misspelled as 'Christable.' 'Homogenous' is used when 'homogeneous' is meant. 'Information concerning postmarks and watermarks have [sic...
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 machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,003 | 0,012 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,002 | 0,001 |
| Bibliométrie | 0,004 | 0,006 |
| Études des sciences et des technologies | 0,001 | 0,003 |
| Communication savante | 0,004 | 0,005 |
| Science ouverte | 0,002 | 0,002 |
| Intégrité de la recherche | 0,002 | 0,005 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,009 | 0,004 |
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 source (Gemma direct ou Codex distillé), 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 ».