Apparitions fantastiques: apparition et disparition dans la fiction brève (littérature et arts de l'image) éd. by Lauric Guillaud, et Gérald Préher
Bibliographic record
Abstract
Reviewed by: Apparitions fantastiques: apparition et disparition dans la fiction brève (littérature et arts de l'image) éd. by Lauric Guillaud, et Gérald Préher Kate M. Bonin Guillaud, Lauric, et Gérald Préher, éd. Apparitions fantastiques: apparition et disparition dans la fiction brève (littérature et arts de l'image). PU de Rennes, 2018. ISBN 978-2-7535-7429-8. Pp. 342. This multi-author volume brings together twenty-two heterogeneous studies of the fantastic, spanning centuries from the eighteenth through the twenty-first; uniting countries of origin from France to the United States, Argentina, Great Britain, Francophone Canada, and Japan; and crossing genres: literature, film, photography, painting. Some essays focus on a single author or artist; others study widely disparate works (Anglo-Irish, Quebecois, and Belgian, for example) in a comparative-literary approach. The organizing principles that propose to make these hodge-podge elements cohere are the themes of apparition, implying the surgent manifestation of the impossible or the inadmissible into daily life; and disparition, with concomitant feelings of lack or expectations unfulfilled. The editors posit that these twin themes are ineluctably linked to the genre most often associated with the fantastic: the short story, with its tendency to appear briefly in ephemeral magazine publishing, later to disappear or to be re-gathered into anthologies: short stories, in short, do not hold still. Under the rubric of "apparitions," uncanny or unsettling prises de conscience and how they come about are a common motif of several essays. Examples include Arnaud Huftier's investigation of drunken frame narrators whose tales unfold the deeper they empty [End Page 196] their cups; or Catherine Botterel-Michel's focus on the role of mirrors as unwelcome sites of self-discovery throughout Maupassant's oeuvre. Daniel Long suggests that Zola's two fantastic tales experiment with pictorial chiaroscuro effects in order to destabilize, disorient, and leave the protagonist in the characteristic fantastic doubt as to "what really happened." The fantastic's capacity to disrupt norms is differently mobilized by late twentieth- and early twenty-first-century Quebecois authors, argues Simone Grossman, in order to critique an overly profit-driven and mediatized contemporary society. The definition of what precisely constitutes a fantastic tale seems to drift somewhat across the diverse essays, some of which include works of science fiction, horror, and the ghost stories, rather than a narrower focus on tales which dramatize an unresolved tension between the uncanny and the mundane. Moreover, having posited the short story as the fantastic's most characteristic genre, the volume then pivots to painting and photography, going to great lengths to establish connections between narrative and visual arts in the third section of the work, "Le visible et l'invisible." Examples include the short story and "spiritist" photography (Martine Lavaud's investigation of Gautier's 1865 Spirite and fake ghost photos by the con artist Édouart Buguet); the short story and masks (Morgane Leray's analysis of a recurring theme in Jean Lorrain's fin-de-siècle fiction); and Edgar Allen Poe's engagement with Odilon Redon's famously creepy mixed-media drawings (Jean Arrouye). There is a great deal of interest in this section of the volume. One wishes that the imbrications of visual and narrative works were allocated a larger space in the theoretical scaffolding of the introduction and conclusion of the volume, which relegates "littérature et arts de l'image" to a sub-subtitle in parentheses. Notwithstanding, specialists in the genre will find in Apparitions fantastiques many worthwhile (if disparate) contributions to the field. Kate M. Bonin Arcadia University (PA) Copyright © 2019 American Association of Teachers of French
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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) | 0.001 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.003 | 0.006 |
| Scholarly communication | 0.009 | 0.006 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.003 | 0.004 |
| Insufficient payload (model declined to judge) | 0.033 | 0.007 |
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".