Notice bibliographique
Résumé
"Holo what?" or, The Exceptional Business of Naming:A Dialogue Mareike Neuhaus (bio) North American indigenous literatures in English use what I call relational word bundles, a rhetorical structure that is exceptional both in form and origin. A relational word bundle effectively is a figure with significant narrative function that is combined with other such figures to form a text's narrative grid, thus functioning as synecdoche writ large. Given the relational word bundles' origin in a significant Indigenous language structure—the holophrase (one-word sentence)—a rhetorical analysis of relational word bundles from the perspective of a non-Indigenous scholar (that is, myself) is equally exceptional. This essay explores the rhetoric of relational word bundles from the perspective of both Indigenous rhetorics and classical rhetoric, focusing particularly on Canadian contexts. In the spirit of the exceptionality of relational word bundles, the essay takes the form of a dialogue between two scholars. Their conversation points to relational word bundles as the rhetorical expression of Indigenous notions of community and storytelling. Tracing the story of the relational word bundle's evolution, this dialogue also explores the ethics of reading, foregrounding questions all too often lingering in the background: What do critics do, how, and why do they do it, and what are the implications of their work? [End Page 63] Finally, it deserves mentioning that of the two characters featured in the dialogue one is a fictional version of myself, while the other functions as a kind of epitome of the various friends and colleagues—both Native and non-Native—with whom over the years I have had the pleasure to share my work. Why fictionalize myself, and why make this epitome an Oscar Wilde specialist? As Oscar Wilde once noted, "One should always be a little improbable" ("Phrases and Philosophies" 177). It's a sunny afternoon, sometime in July. People are sitting on the porch in front of a café somewhere in North America. Among them are Oscar, a writer and Oscar Wilde expert, and Kate, a scholar of Indigenous literatures; the two have known each other for a good number of years. Birds sitting on a nearby tree are chirping. Cars are passing by. Music can be heard playing from inside the café. Oscar. So, how's your summer going? Kate. The usual. I'm getting all too fond of not having to teach. (Both laughing.) Kate, more seriously. 'N how about you? (takes a sip from her coffee) Oscar. Oh, I've been working on this and that. Nothing spectacular. That is, I did start a new project. Kate, raises her eyebrows. What's that? Oscar, chuckling. You might enjoy this. The title I'm using is "Oscar Wilde's Influence on Shakespeare's Sonnets." Kate. Sounds better than "A Wildean reading of Shakespeare." Oscar. You betcha. (lights his pipe) Kate. But you're not planning to prove the existence of Willie Hughes, are you?1 Oscar. No, no, no, far from it. My point is that Willie Hughes, or whoever stands behind the letters W.H., is a mere fiction. Kate. A mere fiction? Oscar. Yes, I want to suggest a reading of Shakespeare's life as imitating his sonnets; the sonnets expressed Shakespeare's deepest desires, desires he didn't even know he had. Desires that had to be fulfilled eventually. Kate. Erotic desires, I assume? [End Page 64] Oscar, smirking. Of course, for fulfilled they were "between the sheets," so to speak, with all those real W.H.s Timothy Findley hints at in his play Elizabeth Rex.2 Kate. I get it, "Life imitates Art far more than Art imitates Life" (Wilde, "The Decay of Lying" 40). Oscar. Exactly. Kate. Just let me know once you're done so I can prevent you from committing suicide. Oscar, puts out his pipe. I'll probably die of this (waves his pipe) before I'm even close to finishing. (Both laughing.) Your turn, Kate. What is it that you're so fond of this summer? Kate. Nothing really original; I'm revisiting my work on the paraholophrase3— Oscar. Para what? Kate, slightly perturbed. Para-holo-phrase. Oscar, mocking her. A hollow paraphrase? Kate. Not...
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) | 0,000 | 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 ».