De 'Fraise et chocolat' à 'Buzz-moi' d’aurélia aurita [sic]. D’un journal érographique à la mise en scène d’une mise à nu dans le contexte du « tout dire »
Bibliographic record
Abstract
Le « buzz » mediatique autour de la bande dessinee Fraise et Chocolat souleve de nombreuses questions sur les femmes dans le monde artistique francais. L’auteure, aurelia aurita (qu’elle signe elle-meme sans majuscules) semble cumuler les barrieres a franchir en art : une femme, d’origine asiatique, creant une BD erotique. De nombreuses references a d’autres auteures du « tout dire » telles que Virginie Despentes ( Baise-moi ), Christine Angot ( Inceste ) ou Catherine Millet ( La vie sexuelle de Catherine M. ) inscrivent le travail d’aurita dans une tradition feminine et feministe mais aussi scandaleuse. Cet article analyse le scandale mediatique autour d’aurita selon une perspective feministe contemporaine dans la culture populaire que nous appelons pop-feminisme. Buzz-moi , son quatrieme opus, confirme l’approche critique et feministe de l’auteure envers les medias, la BD et le champ artistique, ce qui contribue a la creation et diffusion d’un contre-discours au feminin sur la liberation sexuelle et textuelle des roles et des genres (identitaires et litteraires). The ‘buzz’ or stir caused in the media by the French comic Fraise et chocolat in 2006 raises issues about women in the French artistic field. The author aurelia aurita (which she signs with no capital letters) seems to accumulate crossed barriers in art : a woman, of Asian origin, writing an erotic comics. Many references to other ‘tell-it-all’ women writers such as Virginie Despentes ( Baise-moi ), Christine Angot ( L’Insceste ) or Catherine Millet ( La vie sexuelle de Catherine M. ), situate aurita’s work within a feminine, feminist and scandalous tradition. This article analyses the media scandal around aurita according to a contemporary feminist perspective within pop culture to which we will refer as popfeminism. Buzz-moi , her fourth comics, confirms feminist and critical stands towards the media, the comics world and the artistic field which contribute to the creation and diffusion of a counter-discourse in the feminine on sexual and textual liberation of roles and gender/genres.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.003 | 0.001 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.011 | 0.000 |
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 teacher head, 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".