Why this work is in the frame
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Bibliographic record
Abstract
lengthy stays elsewhere, including in Ireland and Syria. The usual autobiographical elements are present: Bachi describes living in small Parisian apartments during his student years as well as his love life and his development as an author. Bachi also engages in a sort of dialogue with Albert Camus (1913– 60), another child of Algeria who loved his native land but could not survive there. Some of the most moving moments of Bachi’s book are found in the descriptions of his trips back to Algeria, in order to visit his family: “There is nothing left of the Casbah where my father was born, nor of Belcourt where he grew up: many of the working-class neighborhoods that were neglected for half a century now resemble bombed-out ruins.” Bachi often points out that the main mission of a writer is to bear witness, something he does clearly, honestly, and eloquently in his latest work. Edward Ousselin Western Washington University Harriet Walter. Brutus and Other Heroines: Playing Shakespeare’s Roles for Women. London. Nick Hern Books. 2016. 210 pages. British actress Harriet Walter (who won a Tony Award nomination for Mary Stuart on Broadway in 2009) offers feminist essays on major Shakespearean roles for women as well as some of the male roles. Her chapters on Ophelia, Imogen, and Lady Macbeth are abridged or edited versions of earlier incarnations elsewhere (Players of Shakespeare and Clamorous Voices, for instance), but her collection (while neither an academic treatise nor a practical handbook) is a kind of autobiography spanning over thirty years of her career, moving from female roles of great vulnerability (Ophelia, Helena, Imogen) to those of confident complexity and wisdom (Beatrice, Portia) and culminating in a Cleopatra of genuine insecurity. When Walter was offered three “trouser roles”in1987—herYearoftheBoy—shewas able to discover how Shakespeare’s women use disguise variously and for different purposes : to get a job in an exclusively male court (Viola); to survive outside the court (Rosalind); or to enter a world from which women were normally barred (Portia). The essays show a deep study of text, though some of the supplementary resources (such as consultations with psychiatrists, bereavement counselors, or prisoners) could seem excessive to those who put a primacy on the actor’s imagination rather than on psychiatry or sociology. However, the theatrical results, according to her evidence, bore good fruit (especially for interpreting Lady Macbeth), though her take on Beatrice as “an old maid” (something becoming ever more prevalent in our time) is idiosyncratic, if not downright wrong. The most provocative sections of her book are, of course, the essays on Brutus and Henry IV, and her cordial letter to Shakespeare, all of which are critical of the male template. Walter believes that if it was legitimate for boys to play women (even Cleopatra) in Shakespeare’s day, then it is equally legitimate for women to play men. Well, not necessarily, because gender illusion is usually defeated by an actress’s natural vocal pitch and physical movement. While women can, indeed, bring feminist insights to male roles, how should Lady Anne, for instance, be played opposite a female Richard III? Nevertheless, Walter’s book presents many valuable insights from a skilled Shakespearean player’s point of view because she strives to retrace Shakespeare’s steps from word to thought to motivation to the heart of character. In the process, she offers us much to ponder as she challenges theater audiences to broaden their definitions of man and woman, hero and heroine. Keith Garebian Mississauga, Ontario Pierre Voélin To Each Unfolding Leaf: Selected Poems (1976–2015) Trans. John Taylor Bitter Oleander Press This edition brings the major works of Swiss poet and essayist Pierre Voélin to anglophone readers for the first time. Presented en face, Voélin’s poetry confronts the inhumanity of man to man while navigating the complex relationships between humanity and the natural systems that produced such a complex and conflicted animal. Nota Bene STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION 1. Publication Title: World Literature Today 2. Publication Number: 060-680 3. Filing Date: September 1, 2017 4. Issue Frequency: Bimonthly 5. Number of Issues Published Annually: Five 6. Annual Subscription Price...
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.
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.001 |
| Meta-epidemiology (narrow) | 0.003 | 0.002 |
| Meta-epidemiology (broad) | 0.002 | 0.002 |
| Bibliometrics | 0.002 | 0.000 |
| Science and technology studies | 0.026 | 0.004 |
| Scholarly communication | 0.071 | 0.015 |
| Open science | 0.005 | 0.001 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.007 | 0.000 |
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 it