Modulating Popular Culture: Cultural Critics on Tremblay's Les Belles-Soeurs
Bibliographic record
Abstract
This paper discusses the appropriation of a work of popular culture as a tactic in a politics of cultural hegemony. The work in question, Michel Tremblay's play Les Belles-Soeurs , is particularly interesting as it is the first working-class cultural production shown in public in the new Quebec of the 1960s, where the Quiet Revolution was in full bloom. After sixteen years of conservative government and Church domination in the cultural domain, the province was led by a liberal government whose members were mostly from the urban petty-bourgeoisie. The field of cultural production changed markedly. The study illustrates a project of cultural critique in newspapers with differing audiences. It reveals the tactics adopted to accommodate and recuperate this irruption of popular culture. It compares the treatment of Les Belles-Soeurs by French reviewers in Quebec with those in France and with English reviewers in Canada. Resume Cet article discute de la recuperation d'une oeuvre populaire, Les Belles-Soeurs de Michel Tremblay, comme tactique d'une politique d'hegemonie culturelle. Cette oeuvre est particulierement interessante car elle constitue la premiere production theâtrale touchant la culture ouvriere qui fut presentee dans la societe quebecoise des annee 1960 bouleversee par alors la revolution Tranquille. Apres seize ans de gouvernement conservateur et de domination par les eglises dans le domaine culturel, la province a ete menee par un gouvernement liberal dont la plupart des membres faisaient partie de la petite bourgeoisie urbaine. L'etude examine la couverture de la premiere representation de cette piece de theâtre dans des journaux de culture et de classe differentes. Deux objectifs soustendent cette analyse: reveler comment un evenement appartenant a la culture populaire est apprehende par divers types de journaux; et decouvrir si les critiques d'art de cultures differentes — franco-quebecoise, anglo-quebecoise et francaise — percoivent la piece du theâtre evenement de facon similaire ou s'ils utilisent des approches adaptees a leur lectorat pour l'analyser et le critiquer.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| 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 | 0.002 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 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 teacher head, 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".