Notice bibliographique
Résumé
ATHENA'S DAUGHTERS: Television's New Women Warriors Frances Early and Kathleen Kennedy, eds. Syracuse, New York: Syracuse University Press, 2003; 175pp. Athena's Daughters: Television's New Women Warriors is collection of essays concerned with the rising popularity of female action heroes on television. Looking primarily at Xena: Warrior Princess and Buffy the Vampire Slayer, with chapter each on La Femme Nikita and Star Trek: Voyager, this anthology interrogates the female warrior figure and her potential to destabilize popular perceptions of patriarchal power systems. The contributors employ variety of methods to assess such possibilities, including textual analyses, historical evaluations, and ethnographic interviews. What emerges is collection of diverse yet cautiously optimistic perspectives on this trend, multifaceted depiction of how feminist storytelling is both inscribed within and simultaneously rewrites the predominantly male narrative of heroism. Female action heroes are not new to television, as Sherrie Innis shows in Tough Girls: Women Warriors and Wonder Women in Popular Culture. They are the descendants of Wonder Woman, Charlie's Angels, and Agent 99, among others. The renewed feminist interest in characters like Buffy and stems from the increased visibility of the woman warrior figure's perplexing nature - her propensity to disrupt the paradigm of male heroism and violence and her traditionally feminine sex appeal and marketability. Although these characters often reinforce problematic stereotypes of gender, race, and sexuality, the collections editors Frances Early and Kathleen Kennedy note in their introduction that this cultural trope is also a potential ally to the feminist project of reinventing the world, by aligning heroism and action with female strength and ability (p. 10). The first section focuses on the challenge Xena: Warrior Princess (X: WP) poses to ideals of Western antiquity and supremacy, through the relocation of heroism, community, and sexual power in feminine spheres. For instance, in Xena as Ancient Hero, Alison Futrell conducts close reading of the show's revisions to Aeschylus' The Eumenides, arguing that X:WP's interpretation foregrounds female authority in sharp contrast to its misogynistic disavowal in the original, rewriting Western culture's largely patriarchal foundational myths. Helen Caudill looks at online fan fiction, highlighting the fans' fascination with the program's intertwined themes of love and violence, especially as they are played out between and her companion Gabrielle. While in some ways upholding masculinist hero narratives - Xena, like male heroes, gets beautiful woman as her prize - the inscription of sexuality into female power presents news ways for the audience to construct gender in real life. The ambiguous textual copresence of female power and images of stereotypical femininity also haunts the articles on Buffy the Vampire Slayer (BTVS). Particularly intriguing is the survey of male fans in 'Action, Chicks, Everything,' in which Lee Parpart, like Caudill, investigates fans' uses of and responses to television series. While most work posits BTVS's gender politics as its primary attraction for females, Parpart determines that BTVS's male audience typically views its tough women as novel part of the series' entertainment. Parpart's discovery is one variation on the anthology's recurring theme of the problematic nature of polysemy. …
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 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 | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,002 | 0,001 |
| Communication savante | 0,003 | 0,003 |
| Science ouverte | 0,001 | 0,002 |
| Intégrité de la recherche | 0,001 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,017 | 0,003 |
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 ».