Bibliographic record
Abstract
FR. Parue de 1943 à 1957, la revue Histoires vraies est publiée par le plus important éditeur de romans en fascicules québécois de la période, soit les Éditions Police-Journal. Inspirée par l’immense succès de la revue américaine True Story (1919), Histoires vraies a pour objectif la publication de témoignages authentiques et de brefs récits fictifs, ce qui amène le périodique à se prononcer sur la question de la célébrité. Surtout, à compter du numéro 451 (sur un total de 504 livraisons, non datées), la revue change radicalement de format et de ton : les illustrations en couverture sont remplacées par des photographies noir et blanc des « artistes de la semaine », émanant tous de la télévision québécoise. Par l’analyse du discours de ces 47 numéros (qui sonneront le glas de la revue), nous posons l’hypothèse selon laquelle Histoires vraies se sert ici de l’attrait potentiel, auprès du public, envers la culture de la célébrité, pour mieux le rediriger vers l’endogamie nationale de groupe. Trois types de discours sont ici étudiés : les histoires brèves (réelles, adaptées ou inventées), une chronique de critiques télévisuelles et une rubrique biographique consacrée à des vedettes locales du petit écran. Étonnamment, la monstration de la célébrité est uniforme dans ces trois types de discours : on y prône une méfiance envers l’univers hollywoodien et les produits culturels américains. L’étude de la représentation de la célébrité dans le magazine Histoires vraies force un constat : à cette époque, au Québec, la presse de type low brow refuse d’alimenter l’american dream d’un lectorat qui finira par le chercher entre les pages d’autres revues. La célébrité qu’on y dépeint fait effectivement peu rêver. À lire Histoires vraies, on comprend que les vedettes locales sont des personnes travaillantes et restées simples malgré le succès, leur humilité constituant la plus grande de leurs qualités. *** PT. Publicada entre 1943 e 1957, a revista Histoires vraies foi produzida pela mais importante editora de romances em fascículos do Quebec da época, a Éditions Police-Journal. Inspirada no enorme sucesso da revista americana True Story (1919), Histoires vraies buscava publicar depoimentos autênticos e breves relatos fictícios, o que levou a revista a se pronunciar sobre a questão da celebridade. Sobretudo, a partir do número 451 (de um total de 504, sem data), a revista mudou radicalmente de formato e tom: as ilustrações da capa foram substituídas por fotografias em preto e branco dos “artistas da semana”, todos ligados à televisão quebequense. Com base na análise do discurso dessas últimas 47 edições (que marcaram o fim da revista), levantamos a hipótese de que Histoires vraies se vale do potencial apelo, junto ao público, da cultura da celebridade, para melhor redirecioná-lo à endogamia nacional de grupo. São estudados três tipos de discursos: as histórias curtas (reais, adaptadas ou inventadas), uma coluna de críticas televisivas e uma seção biográfica dedicada a estrelas locais da telinha. Surpreendentemente, a mostração da celebridade é uniforme nesses três tipos de discurso: neles, cultiva-se uma desconfiança em relação ao universo hollywoodiano e aos produtos culturais norte-americanos. A análise da representação da celebridade na revista Histoires vraies impõe uma constatação: naquela época, no Quebec, a imprensa do tipo low brow recusava-se a alimentar o sonho americano de um público que acabaria por buscá-lo nas páginas de outras revistas. De fato, a celebridade ali retratada não inspira grandes sonhos. Ao ler Histoires vraies, compreende-se que as estrelas locais são pessoas trabalhadoras, que se mantiveram simples apesar do sucesso, sendo a humildade a sua maior qualidade. *** EN. Published from 1943 to 1957, the magazine Histoires vraies was published by the main publisher of Quebec serialised novels of the period, Éditions Police-Journal. Inspired by the huge success of the American magazine True Story (1919), Histoires vraies aimed to publish authentic testimonials and short fictional stories, which led the periodical to take a stance on the issue of celebrity. Most notably, starting with issue 451 (out of a total of 504 issues), the magazine underwent a radical change in format and tone: the cover illustrations were replaced by black-and-white photographs of the ‘artists of the week,’ all of whom appeared on Quebec television. Through analysis of the discourse in these 47 issues (which would spell the end of the magazine), we hypothesise that Histoires vraies exploited the public's potential attraction to celebrity culture in order to redirect it towards national group endogamy. Three types of discourse are studied here: short stories (real, adapted or invented), a television review column and a biographical section devoted to local television stars. Surprisingly, the portrayal of celebrity is consistent across these three types of discourse: they all promote mistrust of Hollywood and American cultural products. The study of the representation of celebrity in the magazine Histoires vraies leads to one conclusion: at that time, in Quebec, the lowbrow press refused to feed the American dream of readers who would eventually seek this out in the pages of other magazines. The celebrities portrayed in the magazine did indeed offer little to dream about. Reading Histoires vraies, one understands that the local stars were hard-working people who remained down-to-earth despite their success, their humility being their greatest quality. *** ES. En circulación entre 1943 y 1957, la revista Histoires vraies fue publicada por la editorial de novelas por entregas de Quebec más importante de la época, Éditions Police-Journal. Inspirada en el enorme éxito de la revista estadounidense True Story (1919), Histoires vraies tenía como objetivo publicar testimonios auténticos y relatos breves de ficción, lo que llevó al magacín a pronunciarse sobre la cuestión de la fama. Sobre todo, a partir del número 451 (de un total de 504 entregas, sin fecha), la revista cambia radicalmente de formato y tono: las ilustraciones de la portada son sustituidas por fotografías en blanco y negro de los “artistas de la semana”, todos procedentes de la televisión quebequense. Mediante el análisis del discurso de estos 47 números (que marcarán el fin de la revista), planteamos la hipótesis de que Histoires vraies se vale del atractivo potencial que tiene para el público la cultura de la fama para redirigirlo hacia la endogamia nacional de grupo. Se estudian aquí tres tipos de discursos: las historias breves (reales, adaptadas o inventadas), una crónica de críticas televisivas y una sección biográfica dedicada a las estrellas locales de la pantalla chica. Sorprendentemente, la fama se presenta de forma uniforme en estos tres tipos de discursos: se promueve una desconfianza hacia el universo hollywoodense y los productos culturales estadounidenses. El estudio de la representación de la fama en la revista Histoires vraies nos lleva a una conclusión: en aquella época, en Quebec, la prensa de tipo low brow se negaba a alimentar el american dream de unos lectores que acabarían buscándolo en las páginas de otras revistas. La fama que se retrata en ella no invita precisamente a soñar. Al leer Histoires vraies, se comprende que las estrellas locales son personas trabajadoras que se han mantenido sencillas a pesar del éxito, y que su humildad es su mayor cualidad.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.003 | 0.000 |
| Meta-epidemiology (narrow) | 0.002 | 0.002 |
| Meta-epidemiology (broad) | 0.003 | 0.002 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.006 | 0.001 |
| Scholarly communication | 0.007 | 0.003 |
| Open science | 0.002 | 0.001 |
| Research integrity | 0.001 | 0.005 |
| Insufficient payload (model declined to judge) | 0.004 | 0.000 |
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; both teacher heads agree on what is shown here.
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".