La Circassienne: A Study of the Female Circus Artist in French Literature
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Notice bibliographique
Résumé
This study examines how the female circus artist is represented in twelve pieces of French literature ranging from the late nineteenth century to the modern day. The books are divided into three categories by author type: first, authors without a circus background; second, male authors involved in the circus world; and third, women involved in the circus world. Although predicted that the first section would reveal the largest use of stereotypes and misogyny, the second would show the sexist expectations of the <em>circassienne</em> onstage and off, and the third would call out these stereotypes and suggest improvements, there was less variety found than expected. Only two authors—one from each of the first two categories—used <em>circassienne</em> stereotypes in an extremely negative manner, authors who were unfamiliar with circus but did research as well as the majority of the male authors familiar with circus bluntly stated some of the bias but did not offer solutions, and the majority of the female circus artist authors also stated the bias they faced but were limited in their opportunities to challenge stereotypes. Eleven of the books focus on artists from traditional circus, and only <em>Circassienne</em> looks at contemporary circus. Whereas there is a variety of literature about the contemporary circus scene in Quebec, <em>Circassienne</em> was the only book found to be written by a French <em>circassienne</em> that deals with normalizing the life of a circus artist in who lives in a house, sends their children to school, and creates pieces designed to expose children to contemporary circus as well as pieces with calls for activism. Overall, it was found that the situation for the female circus artist in traditional circus in France has not greatly changed in the past century. She is still expected to be feminine, to wear revealing costumes, and to flirt with the audience, often serving as the “female element” in an otherwise male-dominated group of performers. Reducing sexism in circus and the fight for gender equality remain part of the agenda of circus going forward, and progress is being seen faster in contemporary circus than in its traditional counterpart.
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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 | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,001 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| 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