Notice bibliographique
Résumé
CLOGHER city by composing his title cards in the poetic style of the King James Bible.A later example of this method appears in Nicholas Ray's King of Kings (released in 1961 and a remake in name only), which opens with a detailed yet highly embellished summary of Pompey's invasion of Jerusalem.While Ray stresses the historical context of Jesus, his work is a response to cold war American culture.He emphasizes Jesus' role as both a teacher and the «Messiah of peace», thus mirroring the choices faced by American society on the eve of the Cold War.While claiming historical authenticity, this style betrays itself, so to speak, by inevitably revealing the historical and cultural contexts in which the work emerges and the story is received.While an awareness of the past of any story always accompanies its interpretation, hermeneutics is never an exercise in historical reproduction.Interpretation does not ask us to situate ourselves in the past (which is impossible), but rather in relation to it.Pier Paolo Pasolini's The Gospel According to Saint Matthew, released in 1964, exemplifies this dynamic by situating the Jesus story not in a reconstructed first-century world but in the austere, poverty-stricken villages of southern Italy in the 1960s.An admirer of the Italian Neorealist movement, Pasolini uses on-location filming, stark black and white photography and amateur actors to retell not only Matthew's story but the two millennia of interpretation and representation that have accompanied both the Gospel text and, indeed, the wider Christian story.Pasolini constructs a narrative of analogy which highlights the intersections that occur through interpretation.The past mingles with the present and both intersect at various points.Hence, Pasolini can suggestively place his Jesus on the parapet of a temple that is clearly a medieval ruin and depict his scribes and Pharisees as aristocratic figures with mafiosi accents.An expansion of this dynamic occurs in Denys Arcand's 1988 film Jesus of Montreal, which tells the story of Jesus allegorically through the experiences of a group of actors staging a passion play in contemporary Montreal.While the play presents a historicized Jesus whose resurrection is a pious fraud, the multi-levelled story plays with notion of historicism and reveals its limitations and failures by focusing on the influence of the Gospel in the lives of those who encounter Daniel, the mysterious actor who plays Jesus.More recently, Mark Dornford May's 2006 film Son of Man transports the Jesus story into a contemporary African setting by re-contextualizing it in a fictional state called Judea 1 .We shall return to these three films at a later stage in this paper.-----1 L. Baugh («The African Face of Jesus in Film: Part Two: Mark-Dornford May's Son of Man», Gregorianum 92 [2011] 317-345) describes Son of Man as a «radical actualization or "re-contextualization" of the Gospel narrative».Further, it situates «the Gospel narrative in the contemporary African reality».Dornford-May's film represents a significant shift in the Jesus film genre, which, by and large, has portrayed Jesus as a European/American figure.
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 machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,007 | 0,015 |
| Communication savante | 0,007 | 0,005 |
| Science ouverte | 0,001 | 0,003 |
| Intégrité de la recherche | 0,002 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,008 | 0,001 |
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 source (Gemma direct ou Codex distillé), 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 ».