Notice bibliographique
Résumé
In 1981, I discovered the joys of James Bond. I was shy teenager, on a date to see For Your Eyes Only, with a dashing blond I would later marry. We loved the film so much that we methodically went through every Bond film yet made, VCRs having just become affordable. I then, just as methodically, read every Bond book, a budding feminist with a love-hate relationship with misogynist thriller writer Ian Fleming. If you've never read a Bond book, I'd invite you to pick one up. Fleming was a keen observer of both physical details and the human condition, and if his characters hadn't been made into such icons of pop culture, my opinion is that he'd be critically more revered. Like Dorothy Parker or F. Scott Fitzgerald, he has an efficiency of words, and his heroes/antiheroes are similarly exaggerated. [ILLUSTRATION OMITTED] On a personal note, as a teen, I'd never gone farther from my hometown of Glens Falls than to Rutland, Vermont. In Fleming's books, I could live the good life, explore Istanbul or Paris, play 21 in noisy casinos, dive in the warm salt water of the Caribbean, eat fabulous soft-shell crabs swimming in butter, and solve mysteries with my trusty Walther PPK. It was at odds with my Catholic schoolgirl upbringing, but I devoured the adventures, and then it happened: I read The Who Loved Me. If you know the movie with this title, you know nothing about the book. The book is the only attempt Fleming made to write from a female point of view, and he was so unsuccessful that Fleming not only never tried this approach again, he refused to allow the book to come out in paperback. Although Fleming was well known as a roue, he must have been a terrible liar, for his introduction comes off as so much nonsense. He claims he found a manuscript on his desk, which he was glad to publish for the woman who left it there, a woman who had had an affair with Bond. Even at 16, I could see through that, but picked it up anyway. As usual, I was delighted to be taken away--to London, to Montreal, to Lake George. Lake George? Ian Fleming famously wrote about places he had actually been. My antihero had been to Lake George? How much time Fleming spent here I have not been able to ascertain, but clearly, he was here. He sets The Who Loved Me somewhere between Glens Falls and Lake George, in the Dreamy Pines Motor Court, where our heroine tries to hold off but is unable to escape the thugs until James Bond shows up. The Spy is Bond himself, not a Russian woman Bond gets mixed up with, as in the movie. Fleming tried to write as though he were a young woman writing, just after having her heart broken, and speaking as someone in first when I read it, he did a surprisingly good job. The giddiness, self-absorption, and myopic good spirits of early romance are uncomfortably familiar, and everything is portentous: Before I met Kurt, I was a bird with one wing down. Now I had been shot in the other (her take on her failed affair) (Fleming 2003, 53). Yes, this was a man to love (an hour or so after meeting Bond) (149). However, she's neither the glamorous girl in a casino nor an ingenue on an island; she's middle class. Hers is the Lake George of the tour boats (harmless steamers that ply up to Fort Ticonderoga and back (62)) and of Storytown (a terrifying babyland nightmare which I need not describe (63)), not of Millionaires' Row. Fleming was known for his vivid description and offers a better look at Lake George than my own diary entries in 1981. The Adirondacks are described in their wonder as Viv takes her Vespa down Route 9 from Montreal: there was hardly an old fort, museum, waterfall, cave or high mountain that I didn't visit ... I just went on a kind of sightseeing splurge that was part genuine curiosity but mostly wanting to put off the day when I would have to leave these lakes and rivers and forests and hurry on to the harsh Eldollarado of the superhighways, the hot dog stands, and the ribboning lights of neon (62). …
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 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 | 0,000 |
| Communication savante | 0,001 | 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) | 0,008 | 0,002 |
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; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».