Writing the Self / Writing about the Self: "Auteur" and "Autruy" in Tabourot Des Accords' <i>Les Bigarrures</i>
Bibliographic record
Abstract
L-zstienne Tabourot Des Accords' Les Bigarrures (1588) is a compendium of games and word-plays.But it is also much more than that.For within the cataloguing format can be discerned instances in which Tabourot as author, rather than as mere compiler, appears.These irruptions can be elucidated through an examination of the four documents that introduce the text proper ("Théodecte T. au Seigneur Des Accords"; "Avant-propos de l'autheur"; "Andre Pasquet au lecteur", and the "Préface du Seigneur Des Accords").Most fruitful in this regard, however, is an examination of a technique labelled by Des Accords the "adionctions".These latter appear to be commentaries, or glosses, upon the main texts.We shall demonstrate that these "adionctions" function, not to faithfully explicate a text, but rather to undermine the purported encyclopedic project of the Bigarrures, reorienting our perception of the text toward an awareness of Tabourot' s singular creativity.It would appear, from the intensity with which he discusses the presence of others' material (hereafter often referred to as "the other") in his own text, that Tabourot does not want the other, despite the fact that others are his main source.He experiences tension between his desire to compile a book, and his desire to write one and thereby divulge something oi himself.His 'editor' in 'Au lecteur' expresses part of the problem: Et ne se devoit pas, à mon advis, l'autheur cacher, sous ombre qu'il estime le sujet si léger" (LB, vol. 1 16).Clearly, the editor feels more is going on in the text than mere frivolity and amusement.Francis Goyet, the editor of this edition oi{\it Bigarrures, asserts that the 'editor' Tabourot posits is Tabourot's own mouthpiece: "[l'éditeur] André Pasquet [est] inconnu.Tout donne à penser qu'il s'agit de T[abourot] lui-même".^Weknow from other sixteenth-century writers that the ruse of a supposed editor was often employed to express concepts that the author Renaissance and Reformation / Renaissance et Réforme, XXVI, 4 (1990) 285
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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 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.003 | 0.007 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.006 | 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".