From the tour of the art exhibition to "Lingfu Painting Academy" -Extraterritorial travel and female self in Yang Lingfu's "Shui Yuan Shan Chang Ji"
Bibliographic record
Abstract
Female writers in modern times (late Qing Dynasty and early Republic of China) mostly had feminist concepts that were different from those of contemporary women, and most of them wrote about women's self-body and space experience in words to speak for themselves. Among them, Yang Lingfu (1885-1978), one of the "Three Heroines of Modern times " ,together with Kang Tongbi (1881-1969) and Lu Bicheng (1883-1943), is worth noting. She is also a modern talented woman who insists on using classical Chinese as her main writing tool. In addition, like the other two talented women, she also has long-term overseas travel experience. She even lived in the USA for forty years in the second half of her life, building her own home "Lingfu Painting Academy" to teach traditional ink painting. However, compared with the high popularity of Kang Tongbi and Lu Bicheng, Yang Lingfu is a forgotten talented woman/painter in modern times. Most of her poetry collections and painting collections have been published, but there are no research results of corresponding quality. Therefore, this article intends to focus on Yang Lingfu’s overseas travel writing in "Shui yuan shan Chang ji" as the main research object, and discuss Yang Lingfu’s many overseas travels , mainly participating in art exhibitions, including Japan and South Korea in Northeast Asia, and the USA and Canada in the New World , and even settled and built his own “Lingfu Painting room” in California, USA, and then expanded and settled the spiritual space drifting overseas. The purpose is that women outside the drifting area can not only travel through the wilderness, but also build “A Room of One's Own”.
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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 | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.005 | 0.002 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.008 | 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; 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".