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Notice bibliographique
Résumé
505 BOOKS IN REVIEW television series called La Vuelta al mundo de Willy Fog [Around the World with Willy Fog] by Nippon Animation and the Spanish production company BRB and Televisión Espagñola. Nicolas Gautier’s “Romancier du passé, astronaute amateur, espion idéaliste: Le Jules Verne steampunk de La Lune seule le sait” [Novelist of the Past, Amateur Astronaut, Idealistic Spy: The Jules Verne Steampunk of Only the Moon Knows] is the only essay in this volume to deal in great detail with Verne and steampunk. Or, rather, with Verne in steampunk, since the story by Johan Heliot published in 2000—and described as the first francophone steampunk novel—features a fictional Jules Verne as one of its main protagonists, along with other historical figures such as Victor Hugo, Arthur Rimbaud, Gustave Flaubert, and Emile Zola. Despite the pulpish nature of its storyline and the tongue-in-cheek tone of the narration, the novel raises a host of interesting questions about Verne’s social identity as viewed through the steampunk perspective. Mélodie Simard-Houde’s “L’Emprunteur emprunté: Réécrire les Voyages extraordinaires à l’ère du projet Gutenberg” [Borrowing from the Borrower: Rewriting the Extraordinary Voyages in the Age of Project Gutenberg] presents another example of Vernian intertextuality that appears in a 2015 novel by Québécois author by Nicolas Dickner entitled Six degrés de liberté [Six Degrees of Liberty]. The essay also argues that, today, Verne’s oeuvre is taking on a new life “par sa circulation sur la toile, en diverses langues, grâce au libre accès numérique” [through its circulation on the web, in many different languages, thanks to its cost-free digital availability] (240). Jean-Christophe Valtat’s “Mon Nom est Nemo: Transfictions verniennes” [My Name is Nemo: Vernian Transfictions], the final essay of the volume, examines the presence of Verne in several contemporary works of francophone fiction: Héliot’s La Lune seule le sait (2001), Jean-David Morvan and Nesmo’s 2-issue comic book Univerne (2011), Guillaume Lapeyre and Rémi Guérin’s manga City Hall (2012), and the elaborately illustrated graphic novel Un An dans les airs [A Year in the Air] collectively authored by Raphaël Albert, Jeanne-A Debats, Raphaël Granier de Cassagnac, and Johan Héliot (2013). The essay contends that each of these works offers an homage to Verne while simultaneously replacing the real, historical Verne with a media-derived version that might be more accurately described as an “écrivain imaginaire” [imaginary writer] (242) rather than a writer of the imaginary. In sum, for early sf scholars who can read French, Pinson and Prévost’s Jules Verne et la culture médiatique offers a selection of essays on Verne that are cutting-edge and very engaging. Highly recommended for all university libraries.—Arthur B. Evans, SFS Euro Visions. Aidan Power. Contemporary European Science Fiction Cinemas. London: Palgrave, 2018. 267pp. $59.99 pbk. Aiden Power’s Contemporary European Science Fiction Cinemas has a strong mandate to cover a wide range of European sf films. Critical discussion of sf cinemas across Europe has more absences than presences and has so far 506 SCIENCE FICTION STUDIES, VOLUME 47 (2020) been limited to rather unsystematic analyses of geo-temporal islands (e.g., Soviet sf cinema or post-1945 British productions) or individual masterpieces (e.g., Things to Come [1936] or Alphaville [1965]). On top of that, Power seems committed to ideological viewership, which, next to technological analyses, has produced some of the finest sf film scholarship. And indeed, his monograph engages head-on the European project at large as well as “some of the most pressing issues to assail Europe since the turn of the millennium” (4): a series of enlargements of the European Union as well as Brexit, the 2008 economic crisis and its reverberations, the rise of the far-right across many European countries, and, looming over all the previous transformations, climate crisis. In fact, these challenges are not only reflected in sf cinema but have also, Power proposes, been partly responsible for the resurgence of sf film production in the new millennium; he posits sf as one of the...
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 | 0,001 | 0,001 |
| 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 découle