Pourquoi ce travail est dans la base
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Notice bibliographique
Résumé
Howard Akler, The City Man. Toronto: Coach House Books, 2005. 154pp. $14.95 Because Chicago Review is a serious publication, given to sober criticism and averse to fawning blurbs, I feel bound to reveal straight away that The City Man contains a simile that strains my objectivity. Toronto, 1934: pickpocket Mona Kantor, trailing a mark through Union Station, watches back of suckers head and finds His yarmulke askew like a large lazy eye. Consider yourself warned. In games of word association, utterance of word is answered inevitably, instantaneously, with cry Rhythm! This claim does not seem so far-fetched in world of The City Man, a spare, episodic first novel from Howard Akler. Pickpockets, hustlers, touts, and grifters ease through Toronto's Depression-era streets, their speech as deft as their fingers and feet. Good timing here is not just a tool for conning bateses, pinching pokes, scoring pits. It's a sign of a sensibility, a kind of knowingness. Characters with rhythm of movement or language see and sense things to which other Torontonians, lazy-eyed suckers all, are oblivious. In manner of its characters' clipped but rhythmic speech, Alder's third-person narration taps out an easy patter, often in imagistic sentence fragments. Parts of speech are rationed in downtrodden city, forcing readers to fill in blanks-pronouns, verbs, articles-the way impoverished citizens patch their suits. Mona, our grifter heroine, has most preternaturally perfect timing in novel. She is a stall: that half of a pickpocketing duo responsible for manoeuvering mark into position through imperceptible nudging and blocking. Once victim has been set up, stalled for subtlest instant, cannon moves in to pull touch, reef an easy kick. (Provided no one crumbs play.) The argot and choreography of pickpocket or the whiz do not penetrate dull senses of upright citizens; as one grifter puts it to a reporter, We can kibbitz right there in front of sucker and he don't even Eli Morenz is Toronto Star's city man. In addition to his ear for puns, Eli has a feel for pace of an interview that's as keen as Mona's sense of whiz. He extracts information with deft nonchalance-never rumbles a bates. Eli is only Torontonian who experiences Mona's genius as anything other than an inexplicably empty pocket. Making strategic use of an incriminating photo of her taken by a Star photographer, Eli induces Mona to instruct him in art of grift. In their first class, she trails him around his tiny apartment, picking his delighted pocket again and again. (Eli feels nothing but her eyes.) In a subsequent session, she forks over grifter lexicon: Bang a souper? Steal a pocket-watch. Good, says Mona. Keister kick? Uh. Hip pocket. The dipsy? A warrant. Centre britch? Eli flushes. Uh, he says. Come on come on. Well, space between left britch and right britch. The cock, says Mona. Right. Cock. You're catching on. How about raust? Um, says Eli. Mona jabs his hand with lit end of her cigarette. Ow! What was that for? An example, says Mona. A raust is misdirection. Her lessons-the less interesting ones, anyway-he publishes in Star, giving readers/suckers a glimpse of (under)world they fail to notice. As quoted passage suggests, intersection of economies in which Mona and Eli respectively specialize-of cash and information-is flirtatious. Eli's pocket is happily plundered; Mona hands over her secrets under most flattering duress. It doesn't take long for a third economy to spring up: Her hand steals away from small of his back. Lolls along thigh. Fingers his asshole. Uh, says Eli. That's not my pocket, you know. …
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.
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 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,002 | 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 découle