Notice bibliographique
Résumé
My third poetry collection, The Raven's Song, explores myths of ravens and crows from Orkney, Shetland and British Columbia. The poems are based on independent research and the collection itself has been illustrated and designed by Edinburgh artist, Catherine Hiley. The collection has been launched in Edinburgh and Glasgow, with readings at the Kolkata International Literature Festival (2018); Purvai Festival, Isle of Lewis (2017) and the Edinburgh International Book Festival (2018). Some of the poems are based on Norse stories narrated by storytellers in Orkney, where I worked as George Mackay Brown Writing Fellow (2009-10). The publication was funded by Creative Scotland and Ankur Productions. This project explores the degree(s) to which transformation myths of the raven as trickster affect memory and female subjectivity in different landscapes (Orkney and Canada), often recontextualising traditional stories. Texts consulted include A Story as Sharp as a Knife: The Classical Haida Mythtellers and Their World (Robert Bringhurst, 1999); The Raven Steals the Light (Bill Reid and Robert Bringhurst, 1994 and 1996); and Indian Myths & Legends from the North Pacific Coast of America: a Translation of Franz Boas's 1895 Edition Indianische Sagen von der Nord-Pacifischen Kutse Amerikas, eds. Randy Bouchard and Dorothy Kennedy, with a foreword by Claude Lévis-Strauss, Vancouver, 2002. Some poems were based on stories narrated by storytellers in Orkney, Tom Muir and Fran Flett Hollinrake. While working as George Mackay Brown Writing Fellow in Orkney (2009-10), I led exciting collaborative projects with various practitioners, including these storytellers. Some of the poems were inspired by stories narrated by these storytellers, using notes encountered years later, after moving back to Glasgow from Orkney. The publication was created in collaboration with artist Catherine Hiley, who designed and illustrated the collection using hand-drawn and silkscreen printed images, which respond directly to the writing. Many discussions in person and by e-mail, exchanging poems and images between writer and artist, led to the production of the book and its publication (which was funded entirely by Creative Scotland and Ankur Productions, including artists’ fees and printing costs). The work’s context sits within the wider discourse of art writing, explorations of embodied experience, transformation through writing poetry, and postcolonial female subjectivity. I have read the poems from this book at various events, readings and festivals internationally, including at StAnza, St Andrews (2017); Apeejay International Literature Festival, Kolkata (2018); Purvai Festival, Isle of Lewis, 2017; Robert Louis Stevenson Festival, Grez-sur-Loing France (as part of my residency as RLS Fellow); and at the Lahti International Writers' Reunion, Lahti, Finland, June 2019. I have also read poems from this book on air for the Janice Forsyth Show, BBC Radio Scotland, August 2015.
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 | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,008 | 0,006 |
| Communication savante | 0,006 | 0,002 |
| Science ouverte | 0,001 | 0,002 |
| Intégrité de la recherche | 0,001 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,020 | 0,005 |
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 ».