Re-belle et infidèle”. El feminismo canadiense y sus reflejos en las narrativas artísticas del in-betweenness: Mona Hatoum, Chantal Akerman y Ghada Amer/“Re-belle et infidèle
Bibliographic record
Abstract
espanolEl concepto de reescritura se ha desarrollado en los ultimos anos tanto en el ambito literario como en contextos artisticos transnacionales e interculturales. La reescritura, nacida dentro del ambito literario y de los estudios de traduccion, define todo acto y pensamiento que trasforma y recrea. El feminismo canadiense actual ha usado este concepto en su produccion teorica y literaria para desarrollar una critica a los sistemas de oposicion binaria occidentales. Gracias a ello los estudios de genero han conseguido destruir muchos de los estereotipos construidos alrededor de la actividades creativas femeninas, consideradas rebeldes e infieles a los canones masculinos. La relacion entre el existir de las lenguas y el deberse trasformar (reecrear, imaginar o reescribirse) en contextos transnacionales es lo que caracteriza la labor de muchas artistas contemporaneas que se mueven alrededor de una valoracion critica de las culturas y en oposicion a la cultura hegemonica. EnglishThe concept of rewriting has developed in recent years both in the literary field and in transnational and intercultural artistic contexts. The rewriting, born within the literary field and translation studies, defines all act and thought that transforms and recreates. Current Canadian feminism has used this concept in its theoretical and literary production to develop a critique of Western binary opposition systems. Thanks to this, gender studies have managed to destroy many of the stereotypes built around female creative activities, considered rebellious and unfaithful to male canons. The relationship between the existence of languages and the need to transform (reecrete, imagine or rewrite) in transnational contexts is what characterizes the work of many contemporary artists who move around a critical appraisal of other cultures in opposition to the hegemonic culture.
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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 | 0.002 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.008 | 0.013 |
| Scholarly communication | 0.007 | 0.005 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.003 | 0.005 |
| 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".