Notice bibliographique
Résumé
WHAT IS VEILING? Sahar Amer Chapel Hill, NC: The University of North Carolina Press, 2014 [ILLUSTRATION OMITTED] I'd like to begin with several images personal to me (a non-Muslim) but also, I think, relevant to anyone who has ever pondered increasingly vital question What is Veiling?, so conscientiously and sensibly addressed in this book. The first covered women I encountered were nuns of my early education who epitomized mystery and severity. They continued to inspire fear and resentment until a couple of them finally humanized through their passion for literature, which became my joy. As an adult, on occasion of my first visit to Egypt in early '90s where pyramids and Valley of Kings left indelible impressions on me, what also struck were certain visuals of veiled women. Admittedly these were not numerous during Mubarak's era, which is why they stood out. I remember being in a taxi, traffic swarming around, when suddenly and imperiously from car ahead, thrust a blackgloved arm (rings on fingers) indicating a turn. The woman behind wheel was covered completely in black but her gesture was assertive, a strong combination of aggression and anonymity. Considering completeness of her covering, she was probably from Saudi Arabia, Iraq or one of Gulf States. Author Sahar Amer supplies a complete glossary of names of garments worn by Muslims worldwide that runs to 9 pages, attesting to complexity of this subject that is at once sartorial, cultural, religious, social, historical and artistic. In 2011, when invited to teach and share my own poetry at Ain Shams University in Egypt, 1 was intrigued, during a leisurely country house party, to hear an older female academic dressed casually in slacks and a blouse gently chastise her students for wearing hijab, despite fact that they seemed to compensate with heavy eye makeup and bright colours. The term hijab, Amer declares, is the generic term for veiling used by all Muslims regardless of background. She comments how, when watching Egyptian films from 1940s to 1960s, she is struck by European dress and lifestyle of women they portray. And how her mother's wedding pictures from early '60s display same western influences, this, as she points out, thirty years before they all began wearing hijab. In Turkey recently I watched a veiled woman at breakfast with her family in an Istanbul hotel. Young daughters and husband enthusiastically tucked into food while she delicately lifted her face cover and precariously balanced a piece of boiled egg on a spoon in order to get it into her mouth. She looked uncomfortable and sedately resigned. Amer reminds us that for democratic reformer, Ataturk in Turkey in 1920s, hijab was an obstacle to progress and secularization. In 2014 Anniversary edition of Canadian Woman Studies, my own prose poem Out of deals with how I felt in 2011 being constrained to wear headscarf (I have particularly unruly hair) and a myriad number of contradictory impressions around situation of women and girls in that far-reaching, richly-endowed culture. Again we remember that before revolution of 1979, Iran was a largely secular society. After it, Iranian women who had demonstrated for their right to choose to wear chador unexpectedly found themselves forced to wear it. My favourite incident occurred at end of a course I teach at York University called Women in Literature. Several of my students had worn full hijab, that is, complete covering all year. …
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 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,002 |
| Études des sciences et des technologies | 0,006 | 0,004 |
| Communication savante | 0,010 | 0,008 |
| Science ouverte | 0,001 | 0,003 |
| Intégrité de la recherche | 0,002 | 0,005 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,065 | 0,038 |
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 ».