Notice bibliographique
Résumé
It is appropriate that Babe Ruth, Sultan of Swat, who transformed baseball from deadball era to big-bang era, often was depicted in various photos and films following through after a prodigious swing, cradling a few bats prior to choosing one, and sighting along its length as if looking down barrel of a gun. Babe maintained that heavier bat better results: My theory is that bigger bat, faster ball will travel. It's really weight of bat that drives ball. My bat weighs 52 ounces. Most bats weigh 36 to 40 ounces. ... The harder you grip bat, faster ball will travel. When I am out after a homer, I try to make mush of this solid ash handle and I carry through with bat. When I swing to meet baseball, I follow it all way around. (1) Babe's home runs and ebullient personality were instrumental in presenting him as a mass-media Achilles and a populist hero. (2) Ruth represented a common man who came out of nowhere to achieve prominence as a national and folkloric like Casey at Bat and Paul Bunyan, who performed well under pressure and attempted to help others. (3) Ruth's powerful persona as exemplified by his bat has been represented in three periods of film imagery. From 1920-48, golden period extending from his first year as a Yankee to his death, Ruth appeared in Headin' Home (1920); The Babe Comes Home (1926); Harold Lloyd's silent comedy Speedy (1928); five one-reel instructional baseball films for Universal Pictures (1932) entitled Slide, Babe, Slide, Just Pals, Perfect Control, Fancy Curves, and Over Fence; and The Babe Ruth Story (1948), in which his bat is magical, potent, and therapeutic. (4) These films fit image of Ruth as man with club, primitive but successful ..., who was victor over everything. Like Hercules, he satisfied feeling ... that there was ... nothing a man couldn't do if he was strong enough and had a big enough stick. (5) The second period (1984-92) of filmic imagery of Babe Ruth can be considered negative reaction to his earlier sacralization. The three films in this category, The Babe (1985), Babe Ruth (1991), and The Babe (1992), present a more embattled, unruly, and angry Ruth who uses his bat to hit prodigious homers as an assertion of his appetitive personality and as a weapon against those who attack him or prevent him from accomplishing his goals. The third period (1993 to present) represents a return to laudatory style of golden era, as Ruth is celebrated as hero, especially by children, who are encouraged by him or his spirit to keep swinging. Babe's bat becomes talisman that enables them to achieve their goals. The revival of Ruth's heroic image began in The Sandlot (1993), where Babe appears in Benny the Jet Rodriguez's dream, shrouded in a nimbus, to urge Benny, whose room is filled with Ruth memorabilia, to take his one chance at greatness. Dressed in his Yankee uniform and carrying his bat, Ruth declares that heroes get remembered but legends never die. Follow your heart and you'll never go wrong. Take chance to be great, he advises as he leaves with bat over his shoulder a la Paul Bunyan. As a result of dream and his subsequent heroism, Bennie earns a major-league career with Los Angeles Dodgers, wearing Ruth's sacred number 3. Everyone's Hero, first full-length animated film with a baseball plot, continues revitalization of Babe Ruth's heroic mythos through union of a boy, a bat, and a ball. The fact that film is animated enhances notion of a child's world and perspective being created. In such a world it is appropriate that ball and bat are alive and that Babe's bat holds central interest as object that everyone is trying to recover to restore his hitting prowess in 1932 World Series versus Cubs. The movie is built on idea of inclu-siveness as indicated in title: Babe Ruth is everyone's but so is little Yankee Irving, who goes on epic journey and recovers Babe's bat Darling in time for Yanks to win Series. …
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) | 0,124 | 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 ».