Filiations & connexions = Filiations & connecting lines
Bibliographic record
Abstract
Introductions Filiations Introduction Guillaume Artous-Bouvet: L'Exception dans la prose: Alain Badiou lecteur de Samuel Beckett Valerie Alias: Variations choregraphiques: depuis May B, les choregraphes francais et Beckett Stefano Genetti: Filiations choregraphiques: Winnie selon Bejart et chez les Dupuy Conor Carville: Autonomy and the Everyday: Beckett, Late Modernism and Post-War Visual Art Marie-Laure Delaporte: Samuel Beckett/Bruce Nauman: Un nouveau lieu de creation spatio-temporel Catherine Bouko: Samuel Beckett et la tension homme-machine dans Actor#1 de Kris Verdonck Laure Nee: Le theatre de Valere Novarina: Une partie sans fin ou l'appetit vient en parlant Marie Berne: Beckett en Chine a Paris: Resonance beckettienne chez Gao Xingjian Carla Taban: Transpositions de l'/uvre de Beckett dans l'art contemporain au Quebec, 2000-2010 Ettore Labbate: Quad-Ratures: Visions graphiques dans la poesie de Gabriele Frasca Claudia Desblaches: Les tentatives Beckettiennes du style dans Disgrace de J.M. Coetzee Lea Sinoimeri: Ecritures, resistance et exil: Samuel Beckett et Fatos Kongoli Paul Lawley: Murphy's Beckett: Legacy and Agon Connexions/Connecting Lines Laura Maxia: Samuel Beckett entre abstraction et figuration: Une critique en mouvement (1990-2010) John Bolin: A demented form of the particular: Surrealism, Suite and Eleutheria Matthieu Protin: Beckett, tel qu'en ses lettres enfin Cambridge nous le revele Joana Maso and/et Gabriela Garcia Hubard: Echo-graphie et precipitations Beckettiennes dans Echo's Bones: Ovide et Montale Andrea Oppo: Black Holes: A Philosophical View on Endgame's and Bartleby's Stalemates Maryam Beyad and/et Amir Maniee: Beckett's Drama: Platonic 'Ideas' versus Aristotelian 'Shapes' Frederique Bernier: Beckett emondeur de Proust Free Space Michael Flatt: Too Red a Herring: The Unattainable Self in The Unnamable Elizabeth Effinger: Beckett Posthuman: The Ontopology of The Unnamable Greg Garrard: Endgame: Beckett's Ecological Thought Marc Caplan: Ooftish: Writing, Orality, and the Specter of Yiddish in an Early Poem by Samuel Beckett Abstracts Notes on Contributors
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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 | 0.005 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.004 | 0.003 |
| Scholarly communication | 0.007 | 0.006 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.200 | 0.045 |
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".