How to Cook a Good Tale - Three Stories from Rohinton Mistry's Swimming Lessons and Other Stories from Firozsha Baag (1987)
Notice bibliographique
Résumé
On the following pages I want to concentrate on three stories from Rohinton Mistry's (1952 -) Swimming Lessons and Other Stories from Firoszha Baag (1987)*' The eleven stories of this collection are all placed in a Baag, or Baug, here in the meaning of "Parsi housing estate or 'colony"'*' in Bombay.They can be read independently from one another, however one of the charming points of the book is the fact that the different stories are intertwined by figures from certain stories which reappear in other ones.More important is the function of the concluding story in the book which combines them all.Without confusing elementary narratological principles, that is mixing up figures, narrators and the author himself, in this case it will be possible to say, that the stories in the collection are reflecting most presumably experiences by the author.Rohinton Mistry*' was born in a Parsi family in Bombay, in 1975 he emigrated to Canada, and studied at Toronto University.The main figure in the first story discussed here,The Ghost of Firozsha Baag, is a sixty-three-year old ayah ("nurse-maid", etc., L, p.55)* 4 in one ofthe Parsi households.She is a Catholic from Goa and this enables her to see the Parsis from outside, more exactly, as will be seen, from below, because a main part of her living takes place on the How to Cook a Good Tale -Three Stories from Rohinton Mistry's Swimming Lessons and Other Stories from Firozsha Baag ( 1987) "floor'' (p.45).This poses her into a picaro-like position, but picaro is used here of course only as a makeshift.In the second story Squatter the troubles of a young man from Firozsha Baag who emigrates to Canada are told.If not exactly parallel one can read this story as a mirror reflecting that of the ayah from Goa because now the Indian Parsi is in a position comparable to her's in the Parsi household.The narrator of this story being depicted in strange positions on the toilet can, thus, be seen too, at least in some moments, resembling a picaro with a queer position in society.The third story Swimming Lessons tells at the same time the story of one more emigrant from Firozsha Baag to Canada, his fixing down his memories in a book of short stories and his parents' reaction to this.The somewhat picaresque feature of the narrative character to be found especially in the two first mentioned stories and the concluding one is alluded there by the father when he expresses his feelings about Squatter, that the story "with a little bit about Toronto, where a man perches on top of the toilet, is shameful and disgusting, althoug it is funny at times and did make me laugh" (245-246)*s Just one word to the character of this paper, which belongs at the same time to two projects I am working on now.One of which concentrates on Indian literature in English, the other one on the problems involved in Goan identity.The first has, not intendedly from the beginning, brought up in three successive essays problems of Jews in India, and that meant, that the planed essay about the Parsi novelist R. Mistry could not stop at the level of writing about Indian authors writing in English, but should focus as well on the religious aspect.Pushing forward study on Mistry, there appeared his fascinating story about the How to Cook a Good Tale-Three Stories from Rohinton Mistry's Swimming Lessons and Other Stories from Firozsha Baag (1987) Catholic ayah from Goa in a Parsi household in Bombay, The Ghost of How to
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.
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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 | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,004 | 0,001 |
| Communication savante | 0,001 | 0,003 |
| Science ouverte | 0,001 | 0,001 |
| 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 ».