Los años veinte y la literatura escrita por mujeres en Antioquia. Del "titán labrador" a "las muchachas escritoras"
Bibliographic record
Abstract
Un leitmotiv caracterizó las letras de Antioquia en el siglo XIX: ‘pueblo altivo' y ‘titán laborador', el cual consagraba un canon con valores ‘viriles' y unos códigos estéticos. En los años veinte irrumpe una fuerza creadora, en la que participa un grupo de autoras pioneras, quienes con sus obras iluminan los procesos sociales y estéticos de la época. La tesis de este artículo estriba en la afirmación de que la ruptura con el leitmotiv, propiciada por Tomás Carrasquilla y su credo estético, abrió las puertas a la escritura de las mujeres. El artículo da cuenta de la manera cómo las autoras se relacionaron con el canon, para lo cual se exploran las publicaciones de la época y se muestran las obras que ameritaron un premio literario, así como los debates que suscitaron. Igualmente, cuestiona los veredictos de los jurados de dos concursos exclusivos para mujeres. Descriptores: Autoras; canon; concurso literario; procesos sociales y estéticos; letras de Antioquia, siglo XIX. Abstract: In nineteen century, a leitmotiv characterized the Antioquian literature like a ‘pueblo altivo' (‘haughty people') and as a ‘titán laborador (‘laborius titan'). This characterization consecrated a canon made of ‘manly' values and esthetic codes. In the twenties, a group of female authors personify a creative force, who clarified the social and esthetic processes of the time. This article thesis rest on the fallowing affirmation: after the leitmotiv rupture, thanks to Tomás Carrasquilla, and the ending of the esthetic theory, the doors were opened to the women writing. The article tells the way that the women authors related with the literature. Also explores the time publications, shows the works that deserved a literature award and the discussions that provoke controversy. In the same way, questions the verdicts of the experts on two of the women contests. Key word: The Antioquian literature; canon; Female authors; literature award; the social and esthetic processes; Nineteen century.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.003 | 0.007 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.012 | 0.024 |
| Scholarly communication | 0.010 | 0.008 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.003 | 0.005 |
| Insufficient payload (model declined to judge) | 0.008 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".