Bibliographic record
Abstract
This page intentionally left blankAt the beginning of The Idiot [Idiot, 1869], Prince Myshkin meets Rogozhin and Lebedev in a third-class carriage on the Warsaw-Petersburg train as it approaches its destination "at full speed" [na vsekh parakh]. 1 The speeding train, described in the opening sentence, seems at first just a backdrop for Myshkin and Rogozhin's introduction.Yet in fact it will be explicitly foregrounded as a symbol of catastrophic modernity.The train is a device which introduces into the novel the experience of acceleration so particular to modernity, as analyzed by Reinhart Koselleck and others.2 As the inappropriately dressed Myshkin, coming from abroad, converses with his countrymen Rogozhin and Lebedev, the novel opens out onto time; the timeless idyll of the Switzerland Myshkin has left behind is contrasted with the chaotic Russian modernity into which he is arriving, encapsulated by the image of the impenetrable Nastasya Filippovna.This is Myshkin's first experience of historical time since his convalescence and his first experience of his home country, of which he knows nothing.As their conversation progresses in the railway carriage, time slows, and the characters become so engrossed in their discussion that the train's arrival in the station even takes them by surprise.Although Myshkin and his new acquaintances forget their train's movement, the train's presence at the beginning of the novel emphasizes that this is a novel set squarely in the present, in modern times.Later, Lebedev explicitly articulates this point when he describes the nineteenth century as "our century of vices and railways" [nash vek porokov i zheleznykh dorog] (8:315).The railway comes to represent modernity, the sense of a new temporality.In Measuring Time, Making History, Lynn Hunt examines the history of the concept of modernity and how its secondary definition, that of a comprehensive departure from traditional ideas and values, has its roots in the Enlightenment and the French Revolution. 3 The experience of a Introduction: Dostoevsky and the Novel in Modernity
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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 | 0.000 | 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 | 0.003 | 0.003 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.017 | 0.003 |
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".