Tourist or native? Consequences of tourism on the literary, filmic, and critical practices of Newfoundland
Bibliographic record
Abstract
This paper examines an attitude that nurtures artistic manifestations and literary criticism in Newfoundland, Canada: the acute awareness that their identity as a cultural community is now being consumed through global touristic discourses which somehow replace past stereotypical depictions of Newfoundlanders on the part of Canadian mainlanders. A number of economic and cultural disasters loom large in the imaginary of Newfoundland. Among them, the loss of nationhood in 1949, the resettlement of the outport communities in the 1950s and 1970s, the extinction of the fish in 1992, and high rates of out-migration. These losses have shaken a society that has had to redefine traditional notions of survival and dignity. Although tourism has been a convenient economic way out for the island, it has activated a conspicuous alertness for the dangers of the commodification of place and people as soothing products for tourists. Criticism by John Urry [(1995). Consuming places. London: Routledge; (2004). Death in Venice. In M. Sheller & J. Urry (Eds.), Tourism mobilities. Places to play, places in play (pp. 205–216). London: Routledge], James Overton [(1996). Making a world of difference: Essays on tourism, culture and development in Newfoundland. St. John's: ISER], Alan Blum [(2003). The imaginative structure of the city. Montreal: McGill-Queen's University Press], Jørgen Ole Bærenholdt et al. [(2004). Performing tourist places. Cornwall: Ashgate], Herb Wyile [(2011). Anne of Tim Hortons: Globalization and the reshaping of Atlantic-Canadian literature. Waterloo: Wilfrid Laurier University Press], and Cassie M. Hays [(2012). Placing nature(s) on safari. Tourist Studies, 12(3), 250–267] will inform my study on how place is created by touristic consumption; I will examine some figurations which brand Newfoundland as a therapeutic space with a view to elucidating how an awareness of Newfoundland's touristic stance as a quaint place is both dramatized and resisted in some of the literary criticism, the fiction, the cinema, and the poetry produced in the province.
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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 | 0.004 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.021 | 0.017 |
| Scholarly communication | 0.011 | 0.004 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.005 | 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 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".