"That Unholy Tendency to Laughter": L.M. Montgomery's Iconoclastic Affirmation of Faith in Anne of Green Gables
Bibliographic record
Abstract
Resume: Cet article analyse la vie et l'œuvre de L.M. Montgomery. Il s'attache en particulier aux dechirements entre, d'une part, son rejet conscient de certains principes chretiens, herites de la pratique presbyterienne de Cavendish, et, d'autre part, l'exploration passionnee d'une foi chretienne dans Anne . . . La Maison au pignons verts . En subvertissant de maniere amusee l'image d'un christianisme traditionnel conforme a la raison, le roman propose en filigrane une foi individuelle et vivante, approfondie par la passion, l'imagination et le don d'emerveillement. L'etude du roman de Montgomery ouvre ainsi un nouveau champ d'enquete sur le presbyterianisme canadien et les reflexions en cours sur le puritanisme, la Bible judeo-chretienne, et les perceptions de l'enfant. Cet article s'adresse enfin a tous qui ont deja considere avec humour les pratiques religieuses. Summary: This paper investigates the competitive space between L.M. Montgomery's conscious rejection of several tenets of Christianity as frequently practiced by her own Cavendish Presbyterianism and her passionate, imaginative exploration of Christian faith in her novel Anne of Green Gables . Through humorous subversion, Montgomery dethrones the idol of an overly rational conventional Christianity in order to offer instead a compelling window on or icon of a personal living faith that is informed by passion, imagination, and wonder. Her complex viewpoint offers a rich field of inquiry into Canadian Presbyterianism at the turn of the twentieth century as well as ongoing discourses about Puritanism, the Judeo-Christian Bible, and related perceptions of children. This paper is dedicated to all people who have ever found the practice of religion deeply humorous.
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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 | 0.002 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.008 | 0.021 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.005 |
| 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 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".