Afterword (Or Why Think of the Fama as a Success If It Fails on Almost All Fronts?)
Bibliographic record
Abstract
It seems only fitting to conclude by citing the final lines of the poem that closes the Fama y obras pósthumas . Written in Latin by the Mexican intellectual Felipe Santiago de Barrales, the highly affected and pedantic funeral elegy subscribes to the well-tried topic of the ubi sunt ? by appearing not on Sor Juana’s tombstone but on her cenotaph. Accordingly, the poet describes how the nun retains her voice in the afterworld: Yo soy aquella, dijo, que excitada por el amor de Sofía, Concebí doctos libros en el virgíneo pecho. Por tanto, a fin de no despojarme, sepultada, de tan gran amor, me transformo aun en volumen más útil para los vivos [She said: I am she who, roused by the love of Sophia, imagined scholarly books in my virginal breast. As such and so as to not be stripped of such great love in the grave, I transform into a volume more useful still to the living]. Ejemplar signifies exemplary when used as an adjective, while as a noun it stands for “copy,” as in a copy of a publication. Can Sor Juana thus be the true exemplar, or ejemplar —at once a model of imitation and a book or volume? By concluding the Fama with Santiago de Barrales’s poem, editor Castorena brings his volume full circle. His cherubs of the engraved frontispiece—the Mexican and Spanish contributors to the volume—have imitated the allegorical Book of Fame by trumpeting and crowning Sor Juana’s fame and, at the same time, the nun-writer has literally become his Fama . Or so he would have us believe. The nun’s posthumous panegyrists attempt upon her death to redirect and refashion the singularity that fueled her celebrity during her lifetime into either the heroic stature of an iconic poet and muse or the moralizing publicity granted to the saintly. Both the pious portrayal of Sor Juana, inspired by her “conversion” and propagated originally, albeit problematically, by Diego Calleja, and her identity as an American treasure and cultural icon ideally would have rendered her an exemplar or model and facilitated her elegists’ goal of persevering her for posterity.
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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 | 0.007 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.004 | 0.004 |
| Scholarly communication | 0.006 | 0.010 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.003 | 0.005 |
| Insufficient payload (model declined to judge) | 0.094 | 0.066 |
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".