Notice bibliographique
Résumé
Hammond's Charles Dickens's Mary Hammond, Charles Dickens's Expectations: A Cultural Life, 1860-2012. Farnham: Ashgate, 2015. Pp. xii + 299.The fortunes of may go up and down, its recep - tion inevitably depending on ever-changing historical context. Tracing flurry of reassessing generations of Charles Dickens's Great Expectations is Mary Hammond's task here. The purpose is not an easy one, for any attempt to approach entails vast and complex historiographic and bibliographic examination that has being properly named The Industry by Laurence W. Mazzeno. Whereas much literature has been written on both British author and his works, Hammond's reception history of Great Expectations proves successful in revealing the extraordinary multiplicity of possible cultural readings of Dickens's [thirteen] novel (2). The book's interest is primarily to explore Great Expectations's fate after it passed out of control of its author, Hammond masterfully dissecting 'capsular' character of that makes it cultural product irresistible misplaced.To give readers flavor of what book contains, it deals chronologically with these matters in following manner: conception of and its poor reception into Western world (1860-1870); criticisms levelled against book between 1870 (Dickens's death) and 1900, including an examination of first British and American stage adaptations; revival of interest in during new media age (1900-1945), where author focuses on first film adaptations; entrenchment of Great Expectations 'classic', especially after release of David Lean's 1946 version; and one final chapter that takes look at different languages and media into which has been translated.In her introduction, Hammond affirms that with Great Expectations, Dickens created 'cultural event', integrity of which cannot be compromised because its remediation potential was inbuilt. Whilst not all the remediations have been commercially or aesthetically successful, author concludes that even relative failures are useful, not because they show up 'superiority' of 'original' which they try to render anew, but because they are filled with historical traces of uses to which has been put and shifting meanings attaching to 'event' he began in 1860 (11). These statements reveal Hammond's effort to analyze Great Expectations's 'tradaptations' (using term coined by French Canadian director Robert Lepage) to different and cultural contexts beyond question of 'fidelity' and 'authenticity'. Conventional academic discourses have remained, mainly, tied to an univocal correspondence between book and its version, thus emphasizing what Thomas Leitch has called persistent model in which original is taken as privileged content for its adaptation (106). On contrary, Hammond puts risk of her book in vagaries and plurality of market forces to explain evolution of Great Expectations from its non-lucrative beginnings to its transformation into a commodity for consumption in different formats (20). In this sense, book moves away from Brian McFarlane's Charles Dickens' Expectations: A Close Study of Relationship Between Text and Film (Screen Adaptations) (2008), not only because its scope is far more ambitious, but also because McFarlane's approach is primarily intended to inter-semiotic transposition (Raitt 47) that oppose 'original' versus 'copy'.After providing key elements to understand how Dickens's 'very fine, new and grotesque idea' came to be Pip and Magwitch, Hammond focuses on publishing process of Great Expectations and reception of its different editions in both British and American markets. According to her, episodic structure of and its quadripartite scheme of plots are central to an understanding of both its contemporary criticism and modest sales. …
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 | 0,001 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,001 |
| Études des sciences et des technologies | 0,004 | 0,005 |
| Communication savante | 0,005 | 0,003 |
| Science ouverte | 0,000 | 0,002 |
| Intégrité de la recherche | 0,001 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,008 | 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 ».