L'Intermédialité au Grand Siècle (?) ou la pratique des intermèdes sous le règne de Louis XIV
Bibliographic record
Abstract
Le concept de l'intermédialité semble contraire à notre vision de l'esthétique classique que nous considérons généralement comme étant caractérisé par l'unité plutôt que par la multiplicité. Pourtant, le Grand Siècle a inventé plusieurs genres intermédiaux dont les pièces à machines de Corneille, les comédie-ballets de Molière et les opéras de Lully. Afin d'élucider ce semblant de paradoxe, je propose d'examiner l'usage de l'intermède; un ornement parathéâtral permettant de rendre toute pièce intermédiale. En étudiant l'étymologie du terme et l'histoire de sa pratique, je tenterai d'établir sa véritable fonction dramatique. Il sera ensuite possible d'élaborer une typologie de son usage, soulignant la façon dont l'intermédialité pouvait influencer le sens, ou du moins la réception, d'une pièce. Cette étude devrait démontrer que la pratique du théâtre au Grand Siècle était plus libre et variée que les pièces imprimées et les textes théoriques nous donnent lieu de croire. Elle montrera également que le corpus de pièces à intermèdes n'est pas cantonnée au répertoire des comédie-ballets moliéresques. The concept of intermediality appears contrary to our conception of the French classical aesthetic, which we consider to be characterised by unity rather than multiplicity. And yet, the French seventeenth century is also famous for having invented numerous intermedial dramatic genres including Corneille's machine plays, Moliere's comedy-ballets and Lully's operas. In order to elucidate this apparent paradox, I propose to explore the use of the intermède, a paratheatrical ornament used to make any play intermedial. By examining the etymology of the word and the history of its practice, I will clarify its function on the seventeenth century stage. I will then outline a brief typology of the ways in which it could be used to influence the meaning of the main play or, at the very least, how a play was received by the audience. This study will show that dramatic practice in seventeenth century France was much more varied than theoretical texts and printed plays would have us believe, and that the intermede was used much more widely than in Moliere's comedy-ballets. Article reçu le 12/07/2011; accepté le 11/10/2011
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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 | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.005 | 0.010 |
| Scholarly communication | 0.005 | 0.003 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.012 | 0.002 |
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".