Le parcours du personnage d'Anne Shirley dans la série Anne... La maison aux pignons verts de Lucy Maud Montgomery : le modèle atypique d'une éducation féminine au tournant du XXe siècle
Bibliographic record
Abstract
« Ce mémoire porte sur les quatre premiers tomes de la série Anne... La maison aux pignons verts de Lucy Maud Montgomery : Anne... La maison aux pignons verts (1908), Anne d'Avonlea (1909), Anne quitte son île (1915) et Anne au domaine des peupliers (1936). En prenant appui notamment sur des travaux abordant l'histoire des femmes canadiennes-anglaises du tournant du XXe siècle de Gail Cuthbert Brandt et Alison Prentice, ce mémoire étudie la conformité avec laquelle Anne Shirley, la protagoniste de la série littéraire, s'inscrit dans les normes féminines de la fin du XIXe siècle. Il tente également de cerner les intentions de l'auteure qui crée un personnage féminin à la forte personnalité pour un public de jeunes lectrices. L'hypothèse proposée est double : d'une part, Anne serait d'avant-garde en ce qui concerne l'éducation intellectuelle, morale et professionnelle, mais traditionnelle dans son éducation sentimentale. Le mémoire emploie l'approche de l'histoire littéraire, dont les théories ont été développées notamment par Jean Morency et Bernard Andrès. Plus particulièrement, le mémoire s'intéresse au phénomène de création de l'œuvre et du personnage d'Anne Shirley. Conjuguée à des travaux sur la littérature jeunesse, sur le personnage romanesque et sur l'histoire des femmes, cette approche permet de comparer la vie fictive du personnage d'Anne à la vie historique des canadiennes-anglaises du tournant du XXe siècle. Il en ressort qu'Anne Shirley, la protagoniste de la série Anne... La maison aux pignons verts, suit davantage l'évolution de son temps qu'elle n'est ni d'avant-garde ni traditionnelle. -- Mot(s) clé(s) en français : Anne... La maison aux pignons verts, Lucy Maud Montgomery, littérature canadienne-anglaise, littérature jeunesse, histoire des femmes, histoire littéraire, avant-gardisme, XIXe siècle, XXe siècle, éducation des femmes. »-- « This thesis focuses on the first four volumes of the series Anne of Green Gables by Lucy Maud Montgomery: Anne of Green Gables (1908), Anne of Avonlea (1909), Anne of the Island (1915) and Anne at the Windy Poplars (1936). Drawing on works from Gail Cuthbert Brandt and Alison Prentice that address the history of English Canadian women at the turn of the twentieth century, this dissertation studies the level to which Anne Shirley, the protagonist of the literary series, conforms to the feminine norms of the late nineteenth century. It also attempts to understand the intentions of the author who created a female character with a strong personality intended for an audience of young female readers. The proposed hypothesis is twofold: on the one hand, Anne would be avant-garde in her intellectual, moral and professional education, but completely traditional in her sentimental education. The thesis uses the approach of literary history, notably theories developed by Jean Morency and Bernard Andrès. More specifically, the thesis focuses on the elaboration of the character of Anne Shirley as an integral part of the overarching narrative of the series. Combined with scholarship on children's literature, the fictional character, and women's history, this approach allows for the comparison of the fictional life of the character Anne to the historical life of English Canadian women at the turn of the twentieth century. It appears that Anne Shirley, the protagonist of the series Anne of Green Gables, follows the evolution of her times more than she is avant-garde or traditional. -- Mot(s) clé(s) en anglais : Anne of Green Gables, Lucy Maud Montgomery, English Canadian literature, children's literature, women's history, literary history, avant-gardism, nineteenth century, twentieth century, women's education. »--
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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 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.008 | 0.006 |
| Scholarly communication | 0.003 | 0.002 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.004 |
| Insufficient payload (model declined to judge) | 0.007 | 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".