La guerre de 14 re-présentée : l’art comme réponse à la guerre
Bibliographic record
Abstract
Ce numéro propose un itinéraire à travers les arts pour examiner en premier lieu l’écriture de la Première Guerre mondiale et ensuite, dans la partie hors thème, l’écriture féminine. La sélection de romans, poèmes, musique et films témoigne de la représentation de la Première Guerre mondiale dans la culture littéraire canadienne comme dans la poésie nigériane, la musique d’avant-garde allemande ou le cinéma anglo-saxon. Des musiciens allemands rendent hommage aux victimes du conflit en rappelant comment un régiment de musiciens afro-américains introduisit le jazz en Europe. De Wilfred Owen aux poètes nigérians qu’il a influencés à l’instar des autres poètes combattants anglais, de la scène à l’écran, la mémoire de la guerre est ici envisagée de façon paneuropéenne et transatlantique pour dénoncer, à travers l’art, le démembrement de l’humain, et aussi de l’animal dans le roman de Findley The Wars. Le volume consacre une dernière partie à la première œuvre du prix Nobel de littérature Alice Munro, Dance of the Happy Shades. This issue proposes an itinerary through the arts, showing the role of art in the denunciation of war. The selection of novels, poems, music or films confronts the issue of war through pan-European and transatlantic views, with a first part dedicated to the novel by Findley The Wars, which speaks about the bestiality of wars and the humanity of animals. The volume shifts from the examination of Wilfred Owen’s œuvre, to the influence of British War poets on Nigerian poetry, to avant-garde musicians’ response to war, or to its representation on stage and screen. The final section, which is unrelated to the theme of war, brings together essays on the first collection of short stories by the Canadian Nobel Prize winner Alice Munro which specifically highlight the various strategies she displays in Dance of the Happy Shades.
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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 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.009 | 0.005 |
| Scholarly communication | 0.006 | 0.003 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.004 |
| Insufficient payload (model declined to judge) | 0.015 | 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".