Notice bibliographique
Résumé
was raised to be charming, not sincere.--Cinderella's Prince, Into the Woods, Sondheim and Lapine In the September, 2010 issue of this journal, I described Alice Munro's often-anthologized short story How I Met My Husband as exemplifying what Coral Howells calls Munro's tendency toward revision of popular romance plots (Alice Munro [Manchester, England: Manchester UP, 1998]: 60). Now I'd like to get more specific, examining the same story as an ironic revision of the story. Critics have identified three other Munro stories as ironic workings of (Charlotte Goodman, Cinderella in the Classroom: [Mis]Reading Alice Munro's 'Red Dress-1946, Reader 30 [Fall 1993]: 49-61; Howells, 57; Beverly J. Rasporich, Dance of the Sexes: Art and Gender in the Fiction of Alice Munro. [Edmonton: U of Alberta P, 1990). But How I Met My Husband involves more ironic twists than usual: the apparent Prince Charming turns out to be an entirely different mythic character, one far less congenial to romantic happy endings, and rather than being saved by him, the figure must save herself from him. The story is told retrospectively by a married woman, Edie, who is recalling a time shortly after World War II when, as a fifteen-year-old, she worked for a couple named Mr. and Mrs. Peebles as a hired girl (Alice Munro, How I Met My Husband, Something I've Been Meaning to Tell You [Toronto: McGraw-Hill Ryerson, 1974]: 50). Right away, Edie's situation parallels Cinderella's. Separated from own mother and forced to work for the mother of two other children, Edie performs household drudgery while Mrs. Peebles has hair done, goes on picnics, and takes daily naps. Despite efforts, Edie suffers condescending treatment from the spoiled surrogate mother she works for: after Mrs. Peebles's first words in the story, Edie as narrator explains, She didn't say that to hurt my feelings. It never occurred to her (45). The parallel becomes obvious when Edie meets the apparent Prince Charming figure, Chris Watters, a barnstorming pilot who has landed across the road from the Peebles's house, planning to give airplane rides for a dollar. With employers temporarily gone, Edie rummages through Mrs. Peebles's closet, puts on a satin dress, and applies employer's rouge, lipstick, and eyebrow pencil. Almost immediately, she encounters a stranger--Chris--standing at the screen door (49-50). Thus, the poor maid first encounters the leading man while masquerading as one of the elite, wearing fancy clothing that is not own. The parallel becomes even clearer when Chris asks, Were you going to a dance? (50) After this example of meeting cute, we naturally expect romance, even marriage--and plot details encourage those expectations. Chris calls Edie beautiful (51) and teases about getting married someday (54); alone in bed, Edie fantasizes about Chris (58). Most of all, there's simple process of elimination: the story is called How I Met My Husband, and until the last four of its 198 paragraphs Chris is the only unmarried man to be found. But Edie isn't the only unmarried woman: about halfway through the story Alice Kelling arrives, declaring herself Chris's fiancee (55). Given the story's trappings of escapist romance, at first Alice seems just a complication, an obstacle the lovers must overcome. …
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 | 0,001 | 0,002 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| 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 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 ».