Notice bibliographique
Résumé
... white people look up and down without seeing you--like you are not worthy of seeing. Extinct, like a ghost.... (Marie Clements, Unnatural and Accidental Women 82) But inside it is a beautiful woman, alive with happiness and living. ancient ones talk to us. (Marie Clements, Age of Iron 7) Marie Clements is a complex and fascinating theatre artist: dramatist, actor, and director. Her plays are intellectually provocative and challenging, presenting Aboriginal (and feminist issues in a highly painterly style; her website describes Copper Thunderbird as a two-act play on canvas. As Brenda Leadlay, Artistic Director of Presentation House Theatre, comments, the work is consistently poetic, imaginative and moving. Mixing western theatrical practice with techniques of Aboriginal storytelling and ritual, Clements interrogates specific historical events (as, for example, the serial murders of Aboriginal women, the development of the atom bomb, the reductive depictions of The Indian Musicale) and individual memories (as, for example, of domestic abuse, the traumatic residue of Residential school, and the repression of The System Chorus). As I have elsewhere argued at greater length, her vision is never simple. Typically, she considers a number of overlapping themes at the same time, simultaneously locating both the differences and the links among these political, racial, and gender strands in a layered semiosis (Shine). She combines visual and sound patterns, (2) physical movement, and the fluidity of dreamscapes moving through time and space with hard, urban diction and apparently realistic plots (Profile). Her stylistic palate is equally complex: she embraces and--again--queries both the Western and Aboriginal modalities she employs, appropriates, re-appropriates, and revises (within the complexity of allusion in her early plays and more directly in her most recent work). Such hybridity and reference make her work compelling and invite examination; her work also presents a problem for analysis. Clements views her own plays (and herself) as reflective of he interconnected subjectivities so obvious in Canada: amalgams of influences, histories, educational backgrounds, performance styles, races, and genders (Personal interview). Her work--as playwright, director, and Artistic Director--reflects the kind of performative negotiation Ric Knowles marked as characteristic of all public performance in Canada [...,] constituting [...] subjectivities that have inevitably been displaced, hybrid, or diasporic: between settler/invader cultures and First Nations [and] among subsequent waves [...] of immigration (v). Clements writes against this reality of historical dislocation and the silencing of First Nations voices, yet analysis that aims to salute this politic may, in fact, perpetuate colonization by employing Eurocentric methodologies and theories, especially if the critical voice is non-Aboriginal. Further, by alluding to Classical drama, Jacobean revenge, Renaissance Romance, pop culture, American television, and film noir (among other forms), Clements's plays further challenge analysis: how to consider her use of such references without losing sight of her simultaneous critique of them in ironic, sometimes searing, and--even more problematizing--often tongue-in-cheek portrayals? This collection of essays grew from papers originally presented at the Canadian Association for Theatre Research conference in 2008 and from a subsequent Call for Papers. Each of the authors who responded recognizes and acknowledges the problematic inherent in reading Clements, but necessarily speaks from her or his non-Aboriginal subjectivity and the training of the Canadian academy. I, therefore, invited Michelle La Flamme to write an article from her subject-position within the Academy, to give voice to a different tradition of performative medicine, and to offer a brief preface to the collection. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,003 | 0,001 |
| Communication savante | 0,003 | 0,002 |
| Science ouverte | 0,001 | 0,003 |
| Intégrité de la recherche | 0,002 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,388 | 0,140 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».