La femme au théâtre. Les figures féminines et la poétique de la tragédie en France (1550-1660)
Bibliographic record
Abstract
This thesis focuses on the female characters of the tragedy since the genre's rebirth in the mid-sixteenth century until the 1660s, and more specifically on how they are involved in the constitution of the poetics of tragedy. It is striking that the tragedy of the classical period stages mainly female subjects. From 1552, the date of the composition of Jodelle's Cléopâtre captive, until the end of the next century, there are no less than five versions of the story of this Egyptian queen. Sophonisbe, a character now largely forgotten, is probably one of the most important figures of the tragic corpus: she is the subject of more than seven tragedies written between 1559 and 1663, including the plays of famous dramatists like Mairet and Corneille. This phenomenon is highly significant. It reveals that some female figures naturally agree with the poetics of tragedy, that the forms and the representations of "feminity", by some kind of mimicry, correspond to the playwright's conceptions of the tragic spectacle. More specifically, the relationship between the woman and the tragedy falls into three categories: aesthetic, ethical, political. The first category relates to issues of representation ; the second, to the feminine traits ; the last, to the civilizing role of both women and the theatre. Furthermore, because they repeat at various times in its history the tragedy's fundamental principles, the heroines of the tragic stage rely on self-reflexivity. More than just characters, they concern the very nature of theatre : is through them that the theatre - the tragedy - is conceived and thought.
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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 | 0.006 | 0.005 |
| Scholarly communication | 0.005 | 0.002 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.016 | 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".