Bibliographic record
Abstract
From the last decades of the twentieth century to the present, new structures of globalization have increasingly characterized our world. From an economic point of view, the influence of such institutional and regulatory structures as NAFTA and the IMF has deeply affected relationships between countries on various continents. From a cultural perspective, the internet and social media have contributed to quick knowledge dissemination across national boundaries and both a growing similarity among developed nations and an increasing sense of disenfranchisement in developing nations. As a fraught issue, globalization has generated new forms of critical discourse in various fields, including literature and theatre studies. While its advocates praise it for its ability to develop new connections between different world cultures, its detractors underscore its tendency to favour cultural sameness on a global scale. As Dan Rebellato reminds us, the phenomenon of globalization can be understood in many ways. Already heralded by Karl Marx in the nineteenth century as an inevitable process leading to productive dialogues between nations, globalization gained special significance towards the end of the twentieth century (Rebellato 14). Broadly speaking, globalization now designates the manifold political, cultural, and economic exchanges between the world’s contemporary nationstates. This process stands in marked constrast to the insularities of nineteenth century nationalisms (4-12). More specifically, Rebellato regards globalization as “the rise of global capitalism operating under neoliberal policy conditions,” by which he means the non-protectionist economic conditions typical of the late twentieth and early twenty-first centuries (12). Similarly, in this special issue, globalization is understood as a phenomenon closely linked with these recent phases of capitalism. The articles collected here foreground the ways in which Canadian artists engaged in theatre and performance negotiate the cross-cultural advantages and homogenizing pitfalls of such globalization.
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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 | 0.002 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.003 | 0.006 |
| Science and technology studies | 0.014 | 0.006 |
| Scholarly communication | 0.015 | 0.004 |
| Open science | 0.002 | 0.007 |
| Research integrity | 0.003 | 0.003 |
| Insufficient payload (model declined to judge) | 0.148 | 0.020 |
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".