Pourquoi ce travail est dans la base
Une base qui oublie comment elle a trouvé un travail ne peut pas être vérifiée. Voici les voies qui ont admis celui-ci.
Notice bibliographique
Résumé
SEBASTIANO AGLIECO is an independent scholar from Monza, Italy. Poet and literary critic, his books include: Giornata (La Vita Felice 2003), Dolore della casa (Il Ponte del Sale 2006), Nella storia (Aìsara 2009), Radici delle isole (La Vita Felice 2009), Compitu re vivi (Il Ponte del Sale 2013), Infanzia resa (Il Leggio 2018), and Casa delle lucertole (Libraccio Editore 2019). He also co-edited (with Luigi Cannillo and Nino Iacovella) the volume Passione Poesia. Letture di poesia contemporanea 1990-2015 (CFR 2016). narcyso@virgilio.itFABIO BATTISTA is completing his Ph.D. in Comparative Literature at The Graduate Center, CUNY and is the recipient of an Andrew W. Mellon/ACLS Dissertation Fellowship (2018-2019). His project, Staging English Affairs in Early Modern Italy: Gender, Politics, Intercultural Communication, 1590-1690, traces the presence of English socio-political history in 17th-century Italian drama. fbattista@gradcenter.cuny.eduROBERTA COLOMBI is Professor of Italian Literature at Roma Tre University. Her scholarly interests focus upon the 17th-century novel, the humorous 19th-century prose, and Ippolito Nievo and the historical novel. Her book publications include: Lo sguardo che “s'interna”. Personaggi e immaginario interiore nel romanzo italiano del Seicento (2002), Ottocento stravagante. Umorismo, satira e parodia tra Risorgimento ed Italia Unita (2011), and Un umorista in maschera. La narrativa di Antonio Ghislanzoni 1824-1893 (2012). Colombi has also published several articles on Pirandello, Gadda, Palazzeschi, and Svevo. roberta.colombi@uniroma3.itCLORINDA DONATO is the George L. Graziadio Chair of Italian Studies at California State University, Long Beach, where she is Professor of French and Italian. She researches and publishes in the fields of 17th-century studies, Intercomprehension, and translation. She was the Principal Investigator for the NEH-project: “French and Italian for Spanish Speakers” (2012-2015). Clorinda.Donato@csulb.eduELISA FIORENZA has a research grant from Roma Tre University (Department of Foreign Languages, Literatures and Cultures), where she obtained a Ph.D. in Didactics of Modern Languages and an M.A. in Language Sciences. Her main fields of interest are language didactics and Intercomprehension in Romance languages. elisa.fiorenza@uniroma3.itDANIELE FIORETTI is Assistant Teaching Professor at Miami University, Ohio. He received a Dottorato di Ricerca in Italianistica from the University of Florence, and a Ph.D. in Italian from the University of Wisconsin-Madison. He is mainly interested in Italian modern and contemporary literature, cinema and culture. His publications include: Utopia and Dystopia in Postwar Italian Literature – Pasolini, Calvino, Sanguineti, Volponi (2017); Carte di fabbrica: la narrativa industriale in Italia 1934-1989 (2013); and Paolo Volponi, Scrivo a te come guardandomi allo specchio. Lettere a Pasolini 1954-1975 (2009). To his credit he has also articles on Pasolini, Volponi, Minervini, Blasetti, and others. fioretd@miamioh.eduMANUELA MARCHESINI is Associate Professor of Italian at Texas A&M University. Her research centers on questions of method, interpretation, and aesthetic value. Her books include: La galleria interiore dell'Ingegnere (2014), which offers a reassessment of Gadda's Pasticciaccio by exploring the role played in the novel by the figurative arts and by Dante's Comedy; Scrittori in funzione d'altro: Contini, Longhi, Gadda (2005); and Filosofia dei mondi globali. Conversazioni con Giacomo Marramao (2017, co-edited with Stefano Franchi). She has also published critical essays on Manzoni, Boccaccio, Pizzuto and Beckett, Collodi and Bene, Bellocchio and Serra, and Moresco. mmarchesini@tamu.eduDIEGO SBACCHI is currently a secondary school teacher of Italian and Latin Languages and Literatures in Macerata, Italy. He earned a Ph.D. in Italian Studies from the University of Toronto and he is about to complete a second Ph.D. in Italian Literature at the University of Bern. He studies the influence of Pseudo-Dionysius on Dante's work, and is author of articles on Dante, Petrarch, Ungaretti, Ariosto, and Tasso. dsbacchi@chass.utoronto.ca
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 | 0,003 |
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