Bibliographic record
Abstract
His suit was too tight and his hair stuck straight up out of his head like a rooster."(The Last Young Man 26) This is one of the first images Maria, the protagonist of Caterina Edwards' first short story The Last Young Man (1973), recalls of Beppi, her future husband.To Italian readers, such a description may bring to mind the comedic version Alberto Sordi gave of an Italian immigrant in Luigi Zampa's Bello, onesto, emigrato Australia sposerebbe compaesana illibata (1971).In the film Amedeo Foglietti, played by Sordi himself, is looking for an Italian wife (Australian women-like Canadian ones-are too 'open-minded' for him) and arranges to meet a woman, Carmela (Claudia Cardinale), by mail.Unsure of his appearance, Amedeo sends her a picture of a goodlooking friend, Giuseppe; Carmela, who is in fact a prostitute, agrees to marry him and flies to Australia.After a series of comic incidents and misunderstandings, she realizes that good-hearted Amedeo is willing to forgive her past and the two eventually marry.Along with visual similarities between Beppi's and Amedeo's tight suit and funny hair, almost with tragic irony, in Edwards' short story Beppi declares that he "would have taken anyone-even a whore-as long as [... ] [he] didn't have to wash one more shirt" (26).Unlike what happens to Amedeo in the film, Beppi would have married a "whore," but he finds a "madonna" (26); desperate to find a wife, Beppi, an Italian immigrant in Edmonton, goes back to Italy and, in just forty days, woos and marries Maria, leaving her soon after the wedding to go back to Canada.There she will follow him and settle in an old house, whose basement her husband has rented to some paesani, including his brother Luigino.In time all of them will marry and leave the house and now Luigino, the last young man, is going back to Italy.The narration opens on his last day in Canada and, filtered by Maria's memories, retraces the details of her marriage, of her leaving Italy, of the first impressions of her new country, and of her broken hopes.In a series of flash-backs, she recalls the day in which her father gave her a suitcase (the same she is now lending to Luigino), the tears she shed when she
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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 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.018 | 0.011 |
| Scholarly communication | 0.005 | 0.003 |
| Open science | 0.001 | 0.006 |
| Research integrity | 0.003 | 0.005 |
| Insufficient payload (model declined to judge) | 0.007 | 0.001 |
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".