Bibliographic record
Abstract
have to write what have to write about, including question of life continuing beyond our ordinary senses.--Amy Tan In Amy Tan's novel The Hundred Secret Senses (1995), world of yin and world of yang are presented adjacently and ambiguously. As Laura Shapiro observes, Tan's book is somewhat like a hologram: this way and find Chinese-Americans shopping and arguing in San Francisco; turn that way and Chinese of Changmian village in 1864 are fleeing into hills to hide from rampaging Manchus. (1) Readers can easily find cross-references of same personae and their reincarnations in both yin and yang existences. As we move deeper into heart of book, we find that yin/yang hologram produces a rebounding circularity that indicates an endless narrative recursion in which narrative levels are relative without a clear hierarchy. In Olivia's dreamy narratives, Kwan is a character who reads and interprets Olivia's life against numerous yin characters. At same time, Olivia, as well as her previous incarnations, is also a character in Kwan's stories about world of yin. In other words, two main characters create each other in their own narratives, interpreting each other's lives in relation to their previous existences. These narratives, at once overarching and kaleidoscopic, shift without warning from one level to another, and from one existence to another. Moreover, stories of their overlapping lives and deaths, which span two continents and two centuries, are convoluted in a manner of recursion: all versions/visions seem to coexist in a Chinese box of stories within stories and dreams within dreams. With my half-awake mind, says Olivia, I would trace my way back to previous dream, then one before that, a dozen lives, and sometimes their deaths. (2) If we are to read Olivia's dreams and Kwan's stories about world of yin as a series of echoing narratives, distinction between dream and reality and between yin and yang is not clear-cut. The irrational states of world of yin are correlated to real situations and events in world of yang. The process of relating life of yang to world of yin has intricate implications. On one hand, puzzling hologram connects with broad cultural, aesthetic, and spiritual issues; on other, suggests that Tan's art cannot be understood entirely in terms of Western rationalism. In more than one respect, Tan's novel moves toward subversion of our rational perception of life, elaborating on the question of life continuing beyond our ordinary senses. (3) The meaning of novel is articulated through interplay and cooptation of its related narratives. Through a process of reverberation, readers slowly realize that stories of Olivia and Kwan in twentieth-century San Francisco are actually an incarnated rendition of their previous lives in nineteenth-century Changmian. Furthermore, moving through complex work of Tan's hologram, we find in relation of yin and yang that boundaries of time and space collapse. The links between San Francisco and Changmian provide foundation for both plot and narrative developments. Through relation of yin and yang worlds, Tan attempts to present a broader vision of various dimensions of life, a vision that is revealed only through most elaborate and even conjectural strategy. The novel requires readers to adjust their ordinary senses to be willing to intertwine real and unreal. Kwan's unshakeable belief in world of yin presents a big challenge for Olivia's sense of reality. At first, Olivia is annoyed by Kwan's constant communication with people from world of yin: For most of my childhood, had to struggle not to see world way Kwan described it (54). Growing up in modern Western civilization, Olivia is influenced by a scientific view of life and universe, which emphasizes observable realities of material world, while playing down or overlooking spiritual aspects of life. …
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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 | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.003 | 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".