Bibliographic record
Abstract
About the Author: Jonathan A. Allan is a lecturer in Gender and Women's Studies at Brandon University. He received his PhD from the Centre for Comparative Literature at the University of Toronto, where he wrote a dissertation titled, The First Time and the Mourning After: On Love, Loss, and Virginity, which explored the tension between theory and anecdote, as well as romance and canonical literature. His current project, Reading from Behind, is a book length study of the anus, the ass, the rear in literary and cultural theory. I was not at the PCA this year (truthfully, I’ve never been). I write this brief commentary as an outsider, insofar as I’ve never been “inside” PCA, and as someone, who came to popular romance almost by accident. Still, I applied to the 2010 International Association for the Study of Popular Romance (IASPR) conference in Brussels because of Pamela Regis—she was giving a keynote address—and that gives me a particular investment in this discussion. At the time, I was writing a dissertation—one that was ultimately discarded, its pages yellowing in a box—on what Doris Sommer had called “foundational fictions,” which is to say, nineteenth-century Latin American romance novels: Jorge Isaacs’s Maria and its epileptic aesthetic; a rebellious romance like Adolfo Caminha’s Bom Crioulo; and the rich queerness of homosocial desire that was found in many of these romances. But it was at IASPR that I realized how much could be said about popular romance, about how much we were missing when we, in the academy, ignored it. And it was because of IASPR and subsequent discussions with colleagues that I have spent some time thinking about how we go about teaching and researching popular romance. Afforded this opportunity, I wish to offer some thoughts, however tentative, about some of the issues that have arisen throughout these wonderful papers. It seems that we all agree that Regis’s A Natural History of the Romance Novel was and continues to be an important book, comparable in significance to Janice Radway’s foundational study, Reading the Romance: Women, Patriarchy, and Popular Literature. Upon
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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 | 0.009 | 0.011 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.025 | 0.033 |
| Scholarly communication | 0.018 | 0.012 |
| Open science | 0.002 | 0.006 |
| Research integrity | 0.006 | 0.012 |
| Insufficient payload (model declined to judge) | 0.007 | 0.001 |
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".