Bibliographic record
Abstract
Luis de Góngora y Argote (Córdoba, b. 1561–d. 1627) is one of Spain’s most celebrated poets and the main exponent of Baroque poetry in the Spanish-speaking world, comparable to John Donne in England and Giambattista Marino in Italy. Author of over four hundred poems, he exceeded in all poetic forms, including sonnets, letrillas (rondelets), décimas, romances, canciones, villancicos, and most notably the octava real and the silva, which he cultivated in his longest and most ambitious compositions, the epico-lyrical Fábula de Polifemo y Galatea (1612), based on Ovid’s famous tale, and the Soledades (1613), a two-thousand-line poetic maze essentially about nothing, in the sense that Flaubert’s Madame Bovary is a novel about nothing. Boasting bold syntactic twists and esoteric metaphors that almost obliterate their referent, the linguistic subversion of the Soledades sparked a heated debate among Gongora’s contemporaries, who argued passionately about whether to consider the text a Spanish Aeneid or utter gibberish. Besides poetry, Góngora also wrote two (some would say three) plays that departed from Lope de Vega’s popular and populist model—Las firmezas de Isabela (1610) and the unfinished El doctor Carlino (1613). Revered and vilified with equal passion throughout the 17th century, he tended to fall out of grace during the 18th and first half of the 19th centuries, to be rediscovered at the turn of the century by the French Symbolists and the Spanish modernistas, who often compared his disdain for empirical reality to that of Mallarmé. His definite consecration, however, only came in 1927, when a group of scholars and poets led by Dámaso Alonso and Federico García Lorca officially crowned him the poet’s poet. Since then, his reputation as Spain’s enfant terrible and his influence among both Spanish and Latin American writers has grown exponentially, with ardent admirers like José Lezama Lima in Cuba and Pere Gimferrer in Spain.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.003 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.039 | 0.008 |
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".