Bibliographic record
Abstract
505 BOOKS IN REVIEW television series called La Vuelta al mundo de Willy Fog [Around the World with Willy Fog] by Nippon Animation and the Spanish production company BRB and Televisión Espagñola. Nicolas Gautier’s “Romancier du passé, astronaute amateur, espion idéaliste: Le Jules Verne steampunk de La Lune seule le sait” [Novelist of the Past, Amateur Astronaut, Idealistic Spy: The Jules Verne Steampunk of Only the Moon Knows] is the only essay in this volume to deal in great detail with Verne and steampunk. Or, rather, with Verne in steampunk, since the story by Johan Heliot published in 2000—and described as the first francophone steampunk novel—features a fictional Jules Verne as one of its main protagonists, along with other historical figures such as Victor Hugo, Arthur Rimbaud, Gustave Flaubert, and Emile Zola. Despite the pulpish nature of its storyline and the tongue-in-cheek tone of the narration, the novel raises a host of interesting questions about Verne’s social identity as viewed through the steampunk perspective. Mélodie Simard-Houde’s “L’Emprunteur emprunté: Réécrire les Voyages extraordinaires à l’ère du projet Gutenberg” [Borrowing from the Borrower: Rewriting the Extraordinary Voyages in the Age of Project Gutenberg] presents another example of Vernian intertextuality that appears in a 2015 novel by Québécois author by Nicolas Dickner entitled Six degrés de liberté [Six Degrees of Liberty]. The essay also argues that, today, Verne’s oeuvre is taking on a new life “par sa circulation sur la toile, en diverses langues, grâce au libre accès numérique” [through its circulation on the web, in many different languages, thanks to its cost-free digital availability] (240). Jean-Christophe Valtat’s “Mon Nom est Nemo: Transfictions verniennes” [My Name is Nemo: Vernian Transfictions], the final essay of the volume, examines the presence of Verne in several contemporary works of francophone fiction: Héliot’s La Lune seule le sait (2001), Jean-David Morvan and Nesmo’s 2-issue comic book Univerne (2011), Guillaume Lapeyre and Rémi Guérin’s manga City Hall (2012), and the elaborately illustrated graphic novel Un An dans les airs [A Year in the Air] collectively authored by Raphaël Albert, Jeanne-A Debats, Raphaël Granier de Cassagnac, and Johan Héliot (2013). The essay contends that each of these works offers an homage to Verne while simultaneously replacing the real, historical Verne with a media-derived version that might be more accurately described as an “écrivain imaginaire” [imaginary writer] (242) rather than a writer of the imaginary. In sum, for early sf scholars who can read French, Pinson and Prévost’s Jules Verne et la culture médiatique offers a selection of essays on Verne that are cutting-edge and very engaging. Highly recommended for all university libraries.—Arthur B. Evans, SFS Euro Visions. Aidan Power. Contemporary European Science Fiction Cinemas. London: Palgrave, 2018. 267pp. $59.99 pbk. Aiden Power’s Contemporary European Science Fiction Cinemas has a strong mandate to cover a wide range of European sf films. Critical discussion of sf cinemas across Europe has more absences than presences and has so far 506 SCIENCE FICTION STUDIES, VOLUME 47 (2020) been limited to rather unsystematic analyses of geo-temporal islands (e.g., Soviet sf cinema or post-1945 British productions) or individual masterpieces (e.g., Things to Come [1936] or Alphaville [1965]). On top of that, Power seems committed to ideological viewership, which, next to technological analyses, has produced some of the finest sf film scholarship. And indeed, his monograph engages head-on the European project at large as well as “some of the most pressing issues to assail Europe since the turn of the millennium” (4): a series of enlargements of the European Union as well as Brexit, the 2008 economic crisis and its reverberations, the rise of the far-right across many European countries, and, looming over all the previous transformations, climate crisis. In fact, these challenges are not only reflected in sf cinema but have also, Power proposes, been partly responsible for the resurgence of sf film production in the new millennium; he posits sf as one of the...
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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 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.001 | 0.001 |
| Scholarly communication | 0.010 | 0.005 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.003 | 0.002 |
| Insufficient payload (model declined to judge) | 0.553 | 0.476 |
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".