Notice bibliographique
Résumé
E.D. Blodgett (with Yukiko Onley, photographer), Elegy (Edmonton: University of Alberta Press, 2005), 90 pp. Paper. $24.95. ISBN 0-8886-4450-7. Geoffrey Cook, Postscript (Montreal: Vehicule Press, 2004), 72 pp. Paper. $14.95. ISBN 1-5506-5190-0. Pierre Nepveu, Mirabel, translated from the French by Judith Cowan (Montreal: Vehicule Press, 2004), 96 pp. Paper. $15.95. ISBN 1-5506-5191-9. Reading three collections of poetry, Postscript, by Geoffrey Cook; Mirabel by Pierre Nepveu; and Elegy by E.D. Blodgett, the three are unalike in subject, form and purpose, yet there is throughout a strand of unity; an exploration of the relationship between identity and landscape. In Postscript, Geoffrey Cook takes the reader from his native Canada to Czechoslovakia, the two landscapes both mirrored and contrasted by one another, the poems revolving around landscape, and the concepts of home and identity. In an interview quoted in a Vehicule Press release, Cook says that 'Home (which for me always includes a landscape) is the source of imagery with the most profound resonances ... yet I cannot escape the contrary feeling that I have become a comefrom- away'. In this way, his Canadian-set verses expose his feelings of nomadic unbelonging even as he is in his homeland. As he writes towards the end of 'Still Life', Behind me a dyke and a plain: rich, familiar, but land reclaimed by others bores me. In my thirty-third year and without a home, I'll winter once again in an old apartment in Toronto. (pp. 19-20) In the same vein, Cook's relationship with Czechoslovakia is one in which we can perceive a feeling of safety, almost love, with the impossibility of belonging. He is not supposed to belong in this strange and foreign land and, as he asks in 'Kuks (Namesakes)', you've left me for the life we've left back home; my job has ended; my visa soon expires; ... won't any move I make be out of place? (p. 37) It is not only theme and subject matter, though, that reveal Cook's talent; his use of alliteration and assonance is exquisitely displayed in 'Chopping Wood' ('a chopped cord stored against the cold', p. 22), while 'Fisherman's Song' has a liveliness of pace that breaks up the other poems. This is a collection of poems that is at once unified in its themes of nature, landscape and belonging, but also varied in form and feeling; it does not slump into monotony and repetition. Cook explores diverse and foreign styles of verse -haiku, tanka and ghazal- making them his own and, in employing simile to liken his poetry to a physical topography, 'like a wooden siding or irregular breaking rows of waves' (p. 66) he shows himself to be at home in the landscape of poetry, even while geographically he will forever be a 'come-from-away'. Mirabel offers an imaginative and dismaying insight into the project of Mirabel airport, from its beginnings in blueprints and land clearance, to its construction and present-day desertion. Like Geoffrey Cook's Postscript, Nepveu's Mirabel also looks at the connection between place and identity, but here the focus is on how landscape and livelihood are forcibly changed and destroyed, and the effect this has on identity. While the stones sleeping in the walls, awakened from their sea-born atavism, secretly rolled out recollections. ('Red Carpets', p. 39) In dealing with this transience within landscape, Nepveu concerns himself not only with the changes that come to the Quebec farmland with the building of the airport, but also with the ephemeral condition of the airport itself, and of the travellers that have passed through the terminals, their different identities linking their own landscapes, their homes, to Mirabel: Behind a frosted-glass door I overheard a woman sobbing and that suffering carried from some distant country took possession of my body, gently . …
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 | 0,000 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,002 | 0,001 |
| Communication savante | 0,004 | 0,004 |
| Science ouverte | 0,001 | 0,002 |
| Intégrité de la recherche | 0,001 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,488 | 0,315 |
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 ».