<scp>Christine de Pizan</scp> , <i>The Book of the Mutability of Fortune</i> . Edited and translated by <scp>Geri</scp> L. <scp>Smith</scp> de PizanChristine, <i>The Book of the Mutability of Fortune</i> . Edited and translated by SmithGeri L.. (The Other Voice in Early Modern Europe: The Toronto Series, 52.) Toronto: Iter Press, 2017. xvi + 294 pp.
Notice bibliographique
Résumé
Italian-born French writer Christine de Pizan (c. 1364–1430) is renowned not only for her extensive and varied corpus but for the autobiographical passages that, scattered throughout several of her works, encourage readers to feel a special closeness to her. Most of the works containing these autobiographical treasures — The Book of the City of Ladies, The Book of the Three Virtues, Christine’s Vision — exist in English translation. However, until Geri L. Smith’s much-anticipated translation, the Livre de la mutacion de Fortune, or, as Smith renders it, The Book of the Mutability of Fortune, which boasts some of the most intriguing autobiographical passages, was available only in Suzanne Solente’s Middle French edition (Paris: A. & J. Picard, 1959). Smith was required to abridge the nearly 24,000-line long narrative poem; however, she expertly summarizes what she excises and offers notes that bring obscure references to light. The result is a faithful and readable version of this wonderful poem, which will now ‘live on in a new way’ (p. 27). The Mutability contains one of the most iconic of all of Christine’s autobiographical episodes. ‘Now I would like to tell of an occurrence which many may find impossible to believe’, Christine begins her long narrative. ‘Even though some will disbelieve, it is proven truth, evident and fully experienced, and it happened to me personally’ (p. 29). What is this occurrence? It is her transformation from a woman into a ‘complete, natural man’ (p. 31), when, during a journey by ship to the land of Fortune, her husband, the ship’s master, is knocked overboard by waves, leaving Christine alone and grieving. Fortune, earlier so favourable to Christine, has turned on her. But, though discombobulated, Christine returns the ship safely to port in the court of Fortune, where she begins to notice how her adversity has fortified her. She is able to ‘observe [the land of Fortune’s] nature and what could exist there much more keenly’ than in her youth (p. 48). The rest of her story recounts just how mutable Fortune is and always has been, across time and space. Christine tells her story through the image of the bizarre Castle of Fortune, suspended by four chains and turning in the wind. After describing the inhabitants of the castle, who include all the people of the world, she moves on to an ekphrastic description of the history of the world, describing it as painted on the castle walls. This history sets out how the mighty fall, again and again. At the very end of the long narrative Christine arrives in France’s sad present day and the reign of mad Charles VI, who ‘would surely have finished as a prince in all grace if Fortune, turning a blind eye to that, had not burdened him with an illness’ (pp. 242–43). But Christine’s own story of tragedy and transformation on the high seas offers a framework for world history and therefore hope to the people of France, who themselves suffer the outrages of Fortune. This tale of overcoming adversity, recounted through strange and fascinating images (one such image shows two bickering popes crowded into one chair to represent the Schism, 81), will continue to move and entertain, thanks to Smith’s smooth and natural translation.
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 | 0,002 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,007 |
| Communication savante | 0,000 | 0,001 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| 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 ».