Bibliographic record
Abstract
What kinds of modern Canadian plays are most often translated or adapted for production elsewhere in Canada or overseas? How many modern Canadian plays are translations or adaptations of non-theatrical originals (novels, poetry, fairy tales)? Where can one find out if a translation of a Canadian play is available? These are among the questions addressed by the catalogue From Around the World and at Home: Translations and Adaptations in Canadian Theatre, the first comprehensive database of Canadian theatre translations. This paper examines the two basic questions of translation in Canadian theatre as revealed by the database, not from the usual point of view of one or several individual works looked at closely, but from the broader perspective of a large statistical overview: 1. What is the state of theatre translation within the borders of Canada? That is, what transfers are happening between linguistic groups within Canada? And what role do inter-generic translations play here? 2. Are there regional variations in terms of overseas influence? In other words, do different parts of Canada look to different parts of the world for theatrical sources? Published by Playwrights Union of Canada in 2001, the Catalogue contains over 3000 separate entries, including source and target references to Canadian plays translated for production or publication either inside or outside Canada, and Canadian plays which are themselves translations of other domestic or overseas pieces. With the term “translation” including generic as well as linguistic transfers, the Catalogue is designed to serve as both a reference source and the basis for more detailed analysis of the ongoing role of translation in Canadian theatre.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.016 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.014 | 0.059 |
| Science and technology studies | 0.015 | 0.013 |
| Scholarly communication | 0.031 | 0.010 |
| Open science | 0.003 | 0.005 |
| Research integrity | 0.003 | 0.003 |
| Insufficient payload (model declined to judge) | 0.025 | 0.002 |
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".