Bibliographic record
Abstract
War and Peace and Anna Karenina were written more than 130 years ago and, to quote Lionel Trilling, since the end of the nineteenth century “literary production has been enormously brilliant and enormously relevant.” Relevant, that is, to the era of Einstein, Freud, the Russian Revolution, two world wars, the Great Depression, the Holocaust, the atomic bomb, Vietnam, the Cold War, movies, television, and our current electronic sea change. This era has produced the often overwhelming fiction of such writers as Proust, Joyce, Mann, Woolf, Kafka, Hemingway, Faulkner, Bowen, Welty, and Porter: writers who, between 1900 and 1950, achieved the “psychologizing” of the novel, its powerful adoption of interior monologue and other stream-of-consciousness techniques. Where, then, does Tolstoy fit into this Modernist web? He is right at the center of it. For instance, what has been called the “deathbed monologue” – in such twentieth-century fiction as Thomas Mann’s Death in Venice (1912), Marcel Proust’s Time Regained (1927), Dorothy Richardson’s Pilgrimage (1931), Ernest Hemingway’s “The Snows of Kilimanjaro” (1936), Katherine Ann Porter’s Pale Horse, Pale Rider (1939), Hermann Broch’s The Death of Virgil (1945), Samuel Beckett’s Malone Dies (1951), Carlos Fuentes’s The Death of Artemio Cruz (1962), D. M. Thomas’s The White Hotel (1981) – such monologues can be traced as far back as the death of Praskukhin in Sevastapol in May as well as to the severely wounded Prince Andrei’s stream-of-consciousness in War and Peace (816–17; PSS 11: 385–88), Anna’s last ride in Anna Karenina (684–689; PSS 19: 336–43), and of course The Death of Ivan Ilich . If we consider near-sleep to be the “living” counterpart of near-death, we could add to this list Nikolai Rostov’s guard duty the night before Austerlitz (230–33; PSS 9: 322–23), when, time and again, he nearly drops off to sleep on horseback as his interior monologue segues into stream-of-consciousness.
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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 | 0.000 | 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 | 0.006 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.010 | 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".