Revue De L'université De Moncton: Des Actes Sèlectionnés Du 30e Congrès International Sur Byron, 'Byron and the Romantic Sublime'
Bibliographic record
Abstract
REVUE DE L'UNIVERSITE DE MONCTON: DES ACTES SELECTIONNES DU 30^sup E^ CONGRES INTERNATIONAL SUR BYRON, 'BYRON AND THE ROMANTIC SUBLIME'. Edited by Paul M. Curtis. Revue de L'Universite de Moncton, Special Issue, 2005. Pp. vi. + 294. ISSN 0316 6368 (print), 1712 2139 (digital). Price unknown. An intelligent conference theme is a prerequisite for a useful collection of conference essays. Not surprisingly, Paul Curtis, whose meticulous close readings have long been a feature of Byron conferences, has managed to achieve both. theme of the University of Moncton's conference, held from 15 to 20 August 2004, was 'Byron and the Romantic Sublime', and this collection of essays from the conference compares favourably with Cambridge Companion to Byron, which came out in the year the conference took place. intellectual energy, tight focus and wide range of reference - not to mention the number of works discussed - makes this book extremely valuable. Anyone reading Byron will gain much from these essays, most written by people who have thought long and hard about his poetry. Stimulating essays by Charles Robinson, John Clubbe, Peter Graham and Bernard Beatty would make the volume worth purchasing, but the perspectives included by authorities writing on Byron and sculpture (Christine Kenyon Jones), Byron and the East (Naji Oueijan) and Byron and Milton (Joan Blythe) lend even more lustre. conference's keynote address by Ian Balfour, 'Genres of the Sublime: Byron Tragedy, Manfred, and The Alpine Journal in Light of Some European Contemporaries', sets the tone for contextual discussions of Byron and the sublime. Balfour discusses freedom in Manfred by way of Kant's and Schiller's theories ('the free submission to violence that one cannot otherwise escape', as Balfour puts it). Dismissing W. H. Auden's dictum that Manfred as a play 'is dead and a big bore', he shows the work's preoccupation with anti-self-consciousness. Most interesting is his assertion that Byron's use of enjambment weds form and function: 'Terminating with interminable and ending with endless underscore the presence of the infinite by performing and thematizing a small version of it in the drama of the line', he writes. After Balfour's illuminating essay, the book itself is divided into eight sections: 'Byronic Transformations of the Sublime'; 'The Sublime of Byronic Tragedy'; 'The Sculptural, Pictorial and Sartorial Sublime'; 'The Romantic Sublime on Stage and Film'; 'Byronic Variations on the Sublime'; 'Childe Harold's Pilgrimage'; 'Water, Wings, and Wrath'; 'Aesthetics and Intertextuality'. Each essay is summarised in a French precis, presumably composed by Curtis himself and Sonya Malaborza. In the first section, Jane Stabler explores the 'protean sublime' in Byron and Shakespeare, building on Jonathan Bate's magisterial study Romantics on Shakespeare. Yoshie Kimura shows why Leoni calls Venice 'congenial with the night' in Marino Faliero. Charles Robinson explores what the reviewers said about Byron, making excellent use of Donald Reiman's Romantics Reviewed. Itsuyo Higashinaka's essay on Manfred makes good use of a collection indispensable for a discussion of Byron and the Sublime - Andrew Ashford and Peter de Bolla (eds), Sublime: A Reader in British Eightenth-Century Aesthetic Theory. next section of the book, 'The Sculptural, Pictorial and Sartorial Sublime', delves further into aesthetics. John Clubbe notes how Beau Brummell made himself into a walking work of art. Beau Brummell was one of the three great men Byron thought representative of his age, Clubbe notes, and he explores why this is so, tracing the sartorial sublime, with the help of Ellen Moers, from Byron to Beerbohm to Byronic gender-bending football star, David Beckham. …
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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 | 0.004 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.006 | 0.005 |
| Scholarly communication | 0.011 | 0.007 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.004 | 0.005 |
| Insufficient payload (model declined to judge) | 0.062 | 0.014 |
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".