Pourquoi ce travail est dans la base
Une base qui oublie comment elle a trouvé un travail ne peut pas être vérifiée. Voici les voies qui ont admis celui-ci.
Notice bibliographique
Résumé
Look at my coat of arms: it has a baobab, it has a rhinoceros and a spear. —Nicolás Guillén Cuba—which is not a Polynesian island, as a disoriented friend whom I met at a Cuban studies workshop in Halifax once believed—is more than an island, more than the "Pearl of the Antilles," more than the largest of the Great Antilles; it is an archipelago whose waters still harbor ecological mysteries, and which modern anthropologists never tire of reclaiming in their research plans.1 The geography of Cuba is not what determines the essence of its culture. Praised for its beauty in the finest descriptions that the old chroniclers penned, especially Columbus's navigation logbook, Cuba has transcended history through its contributions to world art and literature, and also, at the end of the twentieth century, through its moral defiance and its defense of its right to survive in the middle of the Western Hemisphere—to which, of course, it has always belonged. A clear image of the Cuban character has circulated all over the world; yet images of Cuba and of Cuban culture have lately suffered the kind of adulteration that has become stock in trade for certain mass media. Such images—stunning women on sun-drenched beaches, distant palm trees in flights of fancy, copper-skinned men relishing the scent of the enormous cigars that they are a fraction of a second away from lighting—seem to show a need to perpetuate in our eyes those first landscapes painted by the conquistadors in their journals: that is, a setting devoid of violence, replete with elemental harmony, almost uninhabited, or artificially inhabited (for the eye that sees) by tropical sirens of the sort that frequented ancient Ithaca and the Mediterranean lands on which Fernand Braudel once held forth. Apart from simplifying Cuba to its insular condition, which enriches it and arms it with a particular arsenal, physical beauty, these images show us seemingly nonchalant Cubans, who have settled into a phenotype that excludes the actual diversity and mestizaje that truly characterizes us in all our farms, towns, and cities, such as Havana, Matanzas, Cienfuegos, and Santiago de Cuba. This is the image of a timeless island Arcadia, heralding the munificence of our climate, our soil, and our proverbial hospitality. Paralleling this image, which I have painted for you here in broad brushstrokes, we find a second image, of an island that is also physically beautiful but imprisoned behind the whiskers of Fidel Castro, demonized to the point of caricature. Here we observe immense multitudes preparing for battle, their faces defiant in the face of hard odds, surrounded by a halo of dignity and diehard stoicism. This is the diabolical image of a never-peaceful island, assailed by hordes of black men and mulatta women with wild-eyed expressions, in a frenzy of historical revenge, in [End Page 933] whom we have, at times, perceived the swelling curves of those same Homeric sirens, this time dressed up in the impeccable uniforms of disdainful militiawomen. What we have here are two stereotypes. One crying out for a cherubic interpretation of the sumptuous Cuban geography, palm trees protecting us from the harsh sun and keeping us hooked on an unbreakable habit of torpor and laziness; the other displaying the demonic nature of a palpable inferno, put in place by the planned unruliness of men and women of color, who are feverish with revanchist dreams and have no plans for education and no good manners. In other words, a mob of savages, leavened with two or three white men who might save the situation in case of crisis, but in a place where nobody is capable of reading a book or writing a computer program. Then, a backdrop of moon and coconut palms; superimposed, a swarm of flags flying the national colors. Like dark sunglasses, both stereotypes obscure the true middle ground, the true critical point that our heroic history and changing circumstances alike require. Neither paradise...
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.
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 découle