Bibliographic record
Abstract
This thesis studies the works of Gabrielle Roy in an attempt to bring to light both the continuity and the evolution that characterize the novelist's writing. To do so, her works have been divided into four groupings. The first, composed of Bonheur d'occasion, La Petite Poule d'Eau and Alexandre Chenevert, identifies the poles of a paradox around which all of Roy's subsequent novels are articulated: disenchanted realism and idyllic chronicle are bridged, in an ironic mode, through the story of the Montreal bank teller. The second grouping, also governed by this principle of alternation whereby each book seems to be the contrary of the one that precedes it, examines works of autobiographical inspiration (Rue Deschambault and La Route d'Altamont) and allegorical, almost didactic narratives (La Montagne secrete, La Riviere sans repos). The novels that form the third grouping no longer oppose each other but rather bear the signs of a reconciliation that will only be realised fully in Roy's autobiography, La Detresse et l'Enchantement. Cet ete qui chantait, Un jardin au bout du monde, Ces enfants de ma vie and De quoi t'ennuies-tu, Eveline? combine work of autobiographical inspiration and third-person narratives, eliminating the barriers between the realistic, ironic and idyllic universes. To each distinct form chosen by the author correpond a particular voice and a specific style of writing, which, although differing from book to book, nonetheless share common elements: doubt and hesitation, oppositions, questionings and interrogations. These are indicative of a new paradox, lodged in the writing itself, and which reveals itself through the co-presence of opposing perspectives. The different voices and the points of views they express reappear in La Detresse et l'Enchantement and Le temps qui m'a manque, which make up the fourth and final grouping. In her autobiography, Roy integrates these voices in order not to merge them into one, but to allow them to express themselves in a first-person plural narrative.
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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 | 0.005 | 0.009 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.011 | 0.026 |
| Scholarly communication | 0.010 | 0.006 |
| Open science | 0.002 | 0.004 |
| Research integrity | 0.003 | 0.005 |
| Insufficient payload (model declined to judge) | 0.005 | 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".