Message from the President: "Lovely and Amazing": Why the Heroines of Jane Austen's World Truly Are
Notice bibliographique
Résumé
JASNA'S delightful and educational 2002 Toronto AGM, Austen's World, was sandwiched between two minor events in my personal life that, at first view, may seem entirely discrete occurrences and in no way related to Jane Austen. The first event was my reading in The New York Times of October 6th a feature by Tamar Lewin headlined A New Book, Featuring Another Spineless Woman, which began: Oh, where are the heroines of yesteryear? The strong, the virtuous, the impeccably competent: Anitgone, Nancy Drew, Jane Eyre. And most especially, Elizabeth Bennet, Jane Austen's model of admirable womanhood? ... concluded: Plenty of books feature tough women detectives, and contemporary authors, like Margaret Drabble. Barbara Kingsolver, Jane Smiley, and Toni Morrison, have produced a raft of novels with complicated heroines, who are neither pathetic nor laughable. But they don't resonate like ... Elizabeth Bennet. (section 4, p. 5) Lewin's article then examines the hapless contemporary literary heroines Bridget Jones, who needs no introduction to you readers, and Kate Reddy of Allison Pearson's Don't Know How She Does It, who undermines the 1990's phenomenon of the super mom, able to balance the perfect home, model children, and successful career. The second event was my seeing the widely admired film Lovely and Amazing, written and directed by Nicole Holofcener, about a mother (Jane, played by that fine Irish actress Brenda Blethyn, whose appearing in the film made me want to see it in the first place), her two birth daughters (Catherine Keener plays the elder, trapped in a marriage-gone-bland, but unable to pull her socks up, so to speak, and Emily Mortimer, as the younger, a wanna be actress, insecure about her body), and her adopted African-American daughter, who despite being insecure about her hair and only about ten years old, turns out to be the person with the best sense of self. I became so irritated by the insecurities, inadequacies, and inanities of the three women characters that I left the film calling it Lovely But Annoying. The objects of the two events, reading the newspaper article and seeing the film, are perfectly connected because the former bemoans that It is a truth universally acknowledged that heroines are now often hapless, which is borne out in the film. But where does Jane Austen come in--other than Lewin's tapping into Jane Austen's much-adapted opening line of Pride and Prejudice and the AGM's being sandwiched between the reading and viewing events? If I may beg your pardon for turning to the sandwich metaphor (similar to Wentworth's using that nut metaphor, which we all forgive--don't we? …
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 | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,002 | 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 ».