The cross-cultural roots of contemporary micronarratives: journeys across the Atlantic Rim
Bibliographic record
Abstract
This doctoral dissertation examines the progressive surfacing of a new genre in the literary world: a micronarrative, and the growing tendency of an increased fragmentation of the literary unit as a whole. I argue that short fiction is always the dichotomy of itself since it can always teleport anywhere/turn into anything owing to the stylistical resources that facilitate it to become something else, as well as due to the interpretation of the reader. This is why, at the same time, I underline the role of a recipient as a key part, and stylistic resources such as double-entedre, metaphors, symbols, irony and sarcasm, that grease the wheels as far as creation of hints is concerned. The literary phenomenon of today is being displayed as an incessant game of chess in which the creator and the recipients move their pieces equivalently, contributing by equal shares. This type of narrative always incessantly creates itself, depending on who has been reading it, constantly generating new contextual meanings a creating new forms. In order to demonstrate the incessant dismemberment of the totality of the literary form, six authors, three from Spanish-speaking and three from English-speaking countries have been analysed for traces of fragmentation in their works and seeds of microfiction. The Spanish-speaking writers are, as follows: Horacio Quiroga (Uruguay) and his Los arrecifes del coral, Julio Torri (Mexico) with aphoristic and humoristic brief approach in Ensayos y Poemas De Fusilamientos and Prosas dispersas, and Ramón Gómez de la Serna, father of la greguería. As for the English speaking authors, three female writers have been approached, namely, Leonora Carrington (UK) and her surreal stories from The Oval Lady, specifically “The debutante”, Angela Carter (UK) with The Bloody Chamber’s “Snowchild” and, ultimately, Margaret E. Atwood (Canada) with her short story prose collections and recently created Flash Fictions.
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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 | 0.002 | 0.003 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.015 | 0.008 |
| Scholarly communication | 0.005 | 0.003 |
| Open science | 0.001 | 0.006 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.005 | 0.001 |
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".