Notice bibliographique
Résumé
Invisible PeopleAlthough she died almost a quarter of a century before Poe published 'The Purloined Letter', Jane Austen knew all too well about the phenomenon of things being hidden in plain sight.Throughout her fiction, from the violent slapstick of the juvenilia to the scarcely less displaced and deranged world of the Sanditon fragment, one of the distinctive features of her narratives is their ability, in various ways, to make a virtue of indirectness and obliquity, to make the offstage, the unheard, the unseenall the features that hover in that hinterland beyond the story in front of our eyes -register their presences in a reader's imagination as she reads.When Humberstall, in Rudyard Kipling's masterful short story "The Janeites", has trouble squaring his addiction to Austen's novels with the fact that "'there was nothin' to 'em nor in 'em.Nothin' at all, believe me,'" (741) he is touching on a quality that Austen's readers have frequently noted, and found puzzling: both her staunchest admirers (like Kipling's soldiers, finding a meeting place in 'Jane' amid the casual slaughter of trench warfare), and her detractors.Why, one might ask, do these novels keep readers coming back to them; why do so many readers, both specialist and nonspecialist, experience the sensation of ideas and possibilities crowding around them every time they do reread, when, as Humberstall suggests, what is right in front of us is often so comparatively spare in its content or its rendition?Of course, there's no way I could provide one all-encompassing answer, one Key to All Austenian Mythologies, in the space available to meeven if I wanted to, which I don't.What I would like to do here, though, is to suggest some possible answers to that question, as I explore the different ways in which "what's there" in the world of Emma (Austen's most stylistically imaginative and suggestive novel) also involves the ghostly presence of what lies beyond its immediate field of vision.Moreover, I'd like to suggest that the particular invitation that the novel makes for readers to imagine its invisible worlds offers a model of how we might understand Austen's attitude to the very medium and form in which she works.To begin with, though, I would like to look at one of the most intriguing marginal presences in the novel, not least because it sheds a light on some of the longrunning aesthetic and political arguments that have been made about the social 'reach' of Austen's writing.My title comes from a famous passage in the five-Canto 1714 version of Alexander Pope's The Rape of the Lock: the virtuoso set-piece at the end of Canto I, where the heroine Belinda's morning toilette is transfigured by Pope's mockheroic style into the arming of a classical warrior: Now awful Beauty puts on all its Arms; The Fair each moment rises in her Charms, Repairs her Smiles, awakens ev'ry Grace, And calls forth all the Wonders of her Face; Sees by degrees a purer Blush arise, And keener Lightnings quicken in her Eyes.The busy Sylphs surround their darling Care; These set the Head, and those divide the Hair, Some fold the Sleeve, whilst others plait the Gown; And Betty's praised for Labours not her own.(222-223)
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 | 0,002 | 0,004 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,014 | 0,021 |
| Communication savante | 0,011 | 0,009 |
| Science ouverte | 0,001 | 0,005 |
| Intégrité de la recherche | 0,003 | 0,007 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,007 | 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 ».