[Kürtösi, Katalin; Hajdu, Péter (eds.). A túlélés művészete: tanulmányok Margaret Atwoodról]
Bibliographic record
Abstract
To survive, one must first and foremost exist and, equally importantly, must be "seen"this is how Katalin Kürtösi introduces the aptly titled A túlélés művészete.Tanulmányok Margaret Atwoodról [The art of survival.Studies on Margaret Atwood], a volume that showcases recent research conducted by Hungarian academics and doctoral students on Canadian literary luminary Margaret Atwood.For the general public, Canadian literature and Atwood have become largely synonymous, making any attempt at presenting her contributions, even from a highly-informed scholarly perspective, a rather daunting task.Which aspects of Atwood's prolific and multifaceted career are still poorly covered by the expert readership, if any?Where does one even begin such a journey?Where is the "here" of Atwood studies?The thirteen essays that make up the collection certainly bring us closer to an answer by tackling a variety of themes that will pique the interest of those keen on immersing themselves in the complex universe of Atwood's literary and cultural preoccupations.Kürtösi herself points out in her Foreword that a diverse oeuvre requires a variety of complementary approaches (9), an objective that this volume fulfills gracefully, by bringing together experts in literary and cultural studies, translation theory, publishing and reception history.The journey of revealing Atwood's Canadianness and relevance for a Central European public -the two main threads that connect the different essays -begins with David Staines's thorough review of Atwood's career (a text translated from English by Katalin Kürtösi).The strategic placement of Staines's text before the other, more specifically focused studies ensures that those less familiar with Atwood are properly initiated into her work, while veteran readers are reminded of a number of key aspects that may ease the understanding of the finer points addressed by the other contributors.Focusing mainly on the themes, characters and settings of Atwood's works, Staines highlights the major stages in her development, from the formative years
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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) | 0.002 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.002 | 0.006 |
| Science and technology studies | 0.004 | 0.002 |
| Scholarly communication | 0.007 | 0.009 |
| Open science | 0.002 | 0.003 |
| Research integrity | 0.003 | 0.003 |
| Insufficient payload (model declined to judge) | 0.034 | 0.023 |
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".