Notice bibliographique
Résumé
GENESIS OF A CREATION A trial The trial of the Archangel of evil as a metaphorical interpretation of human incomprehension when faced with pure and unjustifiable horror. Chants Libres, a contemporary opera company based in Montreal [See TFl 2], presented its thirteenth creation last spring. Pauline Vaillancourt conceived the basic idea of the opera as a response to the unique atmosphere predominating in the months following September 11th. After the shock of the attack, the reaction of the Bush administration led to the depressing sense, at least outside the United States, of a complete absence of individual free will. A hope had arisen that the horror inflicted on the heart of America's proudest city might provoke questioning of the international policies of the United States and its allies; that the average American citizen, becoming a victim for once, might begin to sympathize with the other victims of the world. Soon the Bush government, through its propaganda and policies, showed clearly what its reaction would be, and it was not what people were hoping for. People felt doomed because war, horror, and atrocities were once again on the agenda, and felt damned because they had no power to avoid them. Vaillancourt, working on this concept with writer Alexis Nouss, struck upon the idea of a trial against evil. Of course evil, even personified as an Archangel, cannot be embodied; though its effects are concrete, it defies any kind of physical description other than a mystical one. Only through its works can evil be perceived and so any trial would have to be conducted without its physical presence, in absentia. Another premise had to be established before the libretto could be constructed: the question of time. Could a trial against evil be limited in chronological scope? If one agrees, as the creators did, that evil has existed for at least as long as humanity, there is a good chance that our reflections on evil's action against and through us also dates as far back. Since the trial is a symbol of this process of reflection, it was decided that it should be a limitless proceeding, with the opera merely presenting a single session of it. This point of view rendered the subsequent choice of witnesses more coherent since the actual number of cases presented was not significant. The same consideration applied to the type of witnesses: any kind of evil deed could be presented, not just the most important and representative, since the infinite instances of evil's action in human history could be heard at any other preceding or subsequent session. With this in mind, Alexis Nouss sketched out a libretto focusing on the stories of three witnesses. Their individual texts constitute separated entities and do not interact. The three characters appear one after another and tell their stories, as in a real trial. Even though trials, especially public ones, are often equal in drama and tension to some of the best stage works (and sometimes to some of the best circus shows!), this format presented the real danger of a lack of dynamism. However, the most obvious and efficient way to counter this-the introduction of dialogues or other interactions between the characters-could seriously undermine the strength of the text, the expressiveness of which would be embodied in the way the individual stories were told, rather than in a theatrical tension-building between characters. A solution to this dilemma was found through the introduction of the character of the Judge. It should be noted that this exploratory and investigative process was contemporaneous with the writing. The Judge was not added later to solve possible problems; rather, his character emerged while the witnesses' texts were being created. In establishing the structural context of the show in his first appearance, the Judge acts as a logical link between the witnesses' presentations. In the dynamic of the piece, he holds a similar function to the recitative sections of a baroque or classical opera, while the witnesses' performances correspond to the arias. …
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 | 0,001 | 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) | 0,000 | 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 ».