Notice bibliographique
Résumé
Laura SalviniLUIS S University (Rome, Italy)Science fiction is a rough terrain. Writers, critics, and readers fiercely defend the genre, patrolling its boundaries and excluding texts they find unsuitable for the moniker Nalo Hopkinson's debut novel, Brown Girl in the Ring (1998), is generously celebrated for the Caribbean background and magic realism intertwined in the story, but its scientific references are often treated as less central the text. In my opinion, such an approach overlooks Hopkinson's flair in mastering science fiction literary conventions. Furthermore, this approach belittles the role minorities can play in contributing the genre. Before fully advancing this thread of my argument, I will briefly focus on the figure of Legba, or Legbara in the novel, and the linguistic strategy Hopkinson uses set her narrative in a Caribbean context, before analyzing in what way religion and traditional knowledge handed down from Haitian and Caribbean culture contributes the novelty that is constitutive of science fiction. This article intends pinpoint the reasons why Brown Girl in the Ring deserves a place inside the speculative fiction territory, and show how, by deploying the very conventions of genre, Hopkinson casts the Caribbean minority as the predestinated savior of a near-future Canada in disarray, and casts Caribbean religious practices as both generating and regenerating a multi-layered global identity.Divine Link MakerPapa come and open the gatePapa the city of campsNow we're your children,come and ride your horseIn the night, in the night,come and ride your horse.1In 1986, Papa found his way into pop culture in at least two occasions. David Byrne evoked him in a song written for the soundtrack of his movie, True Stories, and William Gibson gave him a role in Count £ero, the second volume of his Sprawl Trilogy. The entry Legba in the Encyclopedia of the African Diaspora reads [o]ften referred as 'keeper of the gates' and 'keeper of the crossroads,' is the Lwa (force over deity/divinity) that sustains communication among all of the Lwas and between the Lwa and devotees in the Haitian and African Diasporan Vodoun tradition.2 As a guardian of the crossroads and a facilitator of communication between the spiritual and the material, Papa is appealing artists, like Byrne and Gibson, whom have been experimenting with the interaction of different cultures, media, and technologies. In the 1980s, the fusion of electronic sounds with ethnic rhythms in music as well as the rise of cyberpunk, with its mixture of high-tech achievements and dystopian societies, offered an avant-garde touch in outlining the features of the globalization process, by challenging the fixity of traditional identities in favor of the potential of cultural cross-fertilization. No wonder Gibson affirmed in an interview that [t]he only native culture [he] ever had was science fiction and rock 'n' roll.3 In the same 2007 interview, Gibson was questioned as how he first came upon voodoo [sic], and its Afro-Cuban relative, Santeria, which also has a crucial role in his novel Spook Country (2007).4 He explained that as a twelve-year-old boy reading a book about Vodou in New Orleans, he was impressed by how much the ritual symbols for the different gods resembled the circuit diagrams. As a result, he began to wonder what would happen if you wired those circuits, and so a futuristically syncretic Papa Legba, symbolized by the filigreed pattern of an embryonic microchip, became a character in Count %ero.Twelve years later, in Brown Girl in the Ring, Legbara appears as the Eshu of the main character, Ti-Jeanne. He makes his appearance in chapter five, when the protagonist's grandmother, Gros-Jeanne, performs a rite according the traditional dictates. In a basket, she has collected a set of objects please Legbara: a flask of rum and a margarine tub filled with cornmeal, homemade candies, a pack of matches, and a cigar. …
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 | 0,001 | 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) | 0,000 | 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 ».