Bibliographic record
Abstract
L'CBil ecoute is a collection of essays on various art formspainting, music, tapestry, ceramics, stained glass and architecture.In these texts, Claudel develops and illustrates his theory that the function of art is to signify and "magnify" the spiritual dimension of the cosmos.Both the practice and the reading of art, our relationship to it, is an allegorical or analogical experience, that is a process of signifying and understanding ideas, abstractions, through concrete representation.In other words, for Claudel, our understanding and appreciation of art is not only a visual and aural experience but also, fundamentally, a spiritual one.These texts are generally marked by the formal language and objective tone of the essay form.Rhetorical structures such as "Nous avancions que ... " and "On ne saurait nier cependant... " reveal Claudel's intention to develop an argument or to explain or prove a point.The prose poems in these texts often appear as exegeses of the art form being discussed.Generally, they have descriptive, figurative and lyrical qualities and they are often placed at the beginning or at the end of the essay.Their descriptive, figurative and lyrical qualities and break the rhetorical form and official tone of the essay.These prose poems are also dramatic in form and content.Claudel stages a dynamic scene in order to capture and hold the reader's attention.At the same time, he highlights the dramatic nature of his poetic writing.In reading L'CBil ecoute, one readily identifies certain stylistic and ideological traits that relate these essays to the texts of Connaissance de ['Est.Indeed, in the art essays, Claudel often makes reference to the orient and, especially, to the cultures of China and Japan.In particular, one notes the following references: "une legende chinoise" (OE 27), "les philosophes chinois" (OE 54), "la lt~gende japonaise" (OE 204), "vase chinois" (OE 106) and an anecdote about an old orieltal panter .This intertextuality is reinforced by the fact that Claudel's first prose poem on the subject of painting (dated November 1896)
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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 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.008 | 0.008 |
| Scholarly communication | 0.009 | 0.003 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.014 | 0.003 |
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".