Sub Rosa Dictum: A Rose for Emily, Something Special, Wild Swans. the Tacit Intertexuality of Love Discourse
Notice bibliographique
Résumé
1. IntroductionThere are three roses in this bunch: Emily, Yvonne, and Rose. Subject to critical evaluation, they provide methodological tool: is sub rosa is beyond mere morphology. Moreover, taken chronologically, these stories show rose grow, bud, and flourish into transcends time itself.Put through love ordeal, three protagonists are initiated into adult world, an experience that proves both disastrous and eye-opening (e.g., Sumerian goddess Inanna's rosette can be identified with an eye, third eye, it were). Analyzing metaphorical systems that evolve around rose, controlling image of three narratives, I am looking for patterns that could help interpret similar stories and even single out flower discourse special type of coming-of-age narratives.A prominent stratum in stories' subtext is basic Indo-European myth, which features fight between Thunder god and Devil, binary that appears to be formed result of cosmic rosette's swirl (cf. conceptual metaphor LOVE IS WAR).In this paper, I make use of linguoand mythopoetic methods of analysis with elements of conceptual analysis.2. Wild Swans by Alice Munro (Munro 1995:1049-1055).A common experience: viewed from outside cathedral, rose window is material, a handle stuck to pot; viewed from inside, what is tom up by drunken men, in Flo's words, turns spiritual. What is seen through glass, darkly, or through filthy window, minister points out, is almost sacrament, an intimate affair between priest and penitent in confessional of train compartment, newspaper palaver (or lace dress, for that matter) grid. Transforming into regular Roman Catholic symbol of silence, Rose, instead of being defiled, is, on face of it, purified (the swan symbol of purity) and given spiritual guidance. Cela McKinney's husband, hotel manager, also chooses to keep to his room - or his mother-wife - Cela (of Greek and Latin origin, 'blind; moon'), cf. Old English *cella (attested in inflected forms), from Latin celia 'chamber, small room, compartment' (Online Etymology Dictionary)); McKinney is connected with Celtic god of fire. Flo(rence) shop assistant, with her varicose veins, is one who is truly reduced, nipped in bud, it were: She never saw sunlight.... These are white slaves whereas White Slavers, or souls' guides through underworld, are vendor on train, who sold Rose sour chocolate milk; conductor, who wakes her up at end of trip; undertaker, who drives hearse; driver-salesman, who brought bread to Flo's store; French teacher; and minister.Not unlike Eliza from fairy-tale and her brothers - dumb and bird-like - Rose lives through her initiation story. The Canadian Leda meets devil, father of lies (in alchemy swan symbolizes M/mercury) to see the rosy sky under her eyelids. Mavis shop girl, who forms other part of story's frame, has her eyelid (also known filiform) warts removed-papilloma (from Latin, literally nipple), through Frances Farmer (under whose name she booked herself in at resort), is connected with papillon, French for butterfly (from Latin papilio(n)). Although over one of Mavis's eyes dips hat (note informal dated meaning baptize (someone) by immersion in water (OED)), she only imitates Florence Farmer, instead of flourishing. (Actually, it all started with man's stomach cut with knife as if it was watermelon; snow melting and Flo receding; bank of Cela McKinney's house and train filling up at Brantford; or maybe even with sour chocolate milk, ginger ale, and vomit on previous trip-through swan pond; minister's waves of grey hair and his dark blue suit; ferns rustling and streams flowing; pulsating pipes of oil refineries-up to Niagara of orgasm, shores of Lake Ontario, Toronto - from Iroquois word for place where trees stand in water - and the cold wave of greed (with verbs diddle and dawdle describing way of moving (see below)). …
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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 | 0,001 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,005 | 0,010 |
| Communication savante | 0,004 | 0,005 |
| Science ouverte | 0,000 | 0,002 |
| Intégrité de la recherche | 0,001 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,006 | 0,001 |
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 ».