Icon, Brand, Myth: The Calgary Stampede
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Résumé
XIIIsport viewed as anachronistic by many, whose rules are difficult to follow and whose human performers have little presence outside the arena, can continue to command its premier position at the Calgary Stampede.Aritha van Herk explores the world of chuckwagon racing, an event pioneered by and most identifiable with the Calgary Stampede.She describes the event's origins, rules, development, and controversial image.She views chuckwagon racing as an activity firmly tied to a sense of place, with a closeknit community of participants and a unique iconic ethos.She also sees its development as local and accidental and "almost shyly naive."To van Herk, chuckwagon racing is a metaphor for hope, one that anticipates the peace that follows danger.It also touches the essence of a past era, possibly more than anything else the Stampede has to offer.In his discussion of public art and monuments in Calgary, Frits Pannekoek argues that the best artistic statements about the Stampede are confined to the Stampede grounds, the rural hinterland, and the airport.Elsewhere, Stampede images are most visible in gaudy commercial signage.Pannekoek concludes that to Calgary's guardians of culture, the Stampede embodies a specific myth contrived for commercial purposes.While public art elsewhere in the city embodies historical and socio-cultural themes, emerging issues, and more refined myths, it has little to do with the Stampede and its rambunctious version of the city's "official" past.Brian Rusted explores the controversial topic of western art and its marginalization by contemporary art institutions.He sees its robust survival as fitting evidence of a legitimacy that belongs outside more formal prescriptions.He discusses the Stampede's contribution to western art through several historic phases and manifestations, including the highly popular Stampede Western Art Show.Yet the results have not been entirely positive.Rusted points out that the Stampede's current efforts to promote itself through spectator-oriented visual representations have resulted in a popularized view of the West and a virtual abandonment of its relationship to art and visual culture.In their "reading" of selected Stampede posters, Robert M. Seiler and Tamara Palmer Seiler show how visual texts can be sites of meaning.They see the Stampede posters as emphasizing both nostalgia for the past and a belief in progress and technology.The cowboy is incorporated into both these contradictory themes and thus emerges as an ambiguous figure.Within this context the authors suggest that the Stampede posters are much more open texts than might be imagined, and that the various images of the cowboy are central to the complex struggle over the meaning of western Canadian experience.
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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 | 0,003 | 0,002 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| 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