Notice bibliographique
Résumé
Solar Storms begins and ends with face. As novel opens, Angela Jensen, narrator, returns to her homeland in as scared teenager who hides her scarred faced with a curtain of dark red hair (25). But in final pages of novel, Angel Wing (as narrator now calls herself) describes her face as beautiful (350). Helping her through this healing are her great-great-grandmother DoraRouge, her great-grandmother Agnes, and grandmotherly figure named Bush. Angel's transformation--from Angela to Angel, from Jensen to Wing, from scarred to beautiful--reflects communal and political struggle. And written on her two faces are stories of violence committed against her land and emerging political resistance to that destruction. Linda Hogan's novel appears to have been inspired by events related to James Bay, which is located in Cree territory near border between United States and Canada. In 1971, government of Quebec built dams in that area, diverting rivers flowing into James Bay for purpose of creating electrical energy. The dams displaced native communities and sparked decades-long political struggle between indigenous and Canadian nations. (1) The destruction caused by these engineers and cartographers, who carve up land and redirect rivers, is reflected by scarring on Angel's body. Solar Storms thus critiques long history of embodied geography--that is, figuring of land as feminine, move that typically reinforces colonial will and desire. By offering critique of both cartography and embodied geography, Hogan casts mapping as type of scarring on face of earth. But, more importantly, as Angel learns to co-opt power of writing and mapping and transforms them into weapons with which to fight government's dams, her face becomes sign of healing instead of violence. This reading of Angel's two faces illustrates possibility of defiant cartography, one that is historically rooted in indigenous culture, narrative in nature, and connected to land and therefore able to resist rather than assist colonization. The land/body connection announces itself in first sentence of first chapter: was seventeen when I returned to Rib (21). Unpacking ideological content of name Adam's Rib reveals symbolic potential (both positive and negative) of endowing land with physicality. Alluding to second chapter of Genesis, in which God removes rib from Adam to create Eve, name Adam's Rib describes type of physical violence inflicted on Adam and suggests creation through amputation. God forms Adam through combination of earth and breath, but Eve arises out of separation. Again, this mythic image at outset of novel resonates with what Angel learns about abuse she suffered at hands (and teeth) of her own mother: my mother had been taken over by some terrible and violent force. It inhabited her, flesh, bone, and spirit, spirit made flesh in scars on Angel's face (22). Angel eventually finds sort of redemption here at Rib, but initially it is location of her abuse and neglect. This is, after all, Angel's childhood home and place where her mother disfigured her face. The land itself reflects this violence. The second sentence of Chapter 1 describes as the place where was broken apart by land, land split open by water (21). And mapping of this land effectively results in an amputation of life from land as it is described by putatively objective practice of cartography. Perhaps more problematic than violent overtones of name Adam's Rib is its origin. At outset of Native American novel in which narrator eventually develops what Paula Gunn Allen calls a tribal understanding (169), homeland is marked with name belonging to Judeo-Christian tradition of colonizers. …
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 | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,004 | 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 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 ».