Bibliographic record
Abstract
... white people look up and down without seeing you--like you are not worthy of seeing. Extinct, like a ghost.... (Marie Clements, Unnatural and Accidental Women 82) But inside it is a beautiful woman, alive with happiness and living. ancient ones talk to us. (Marie Clements, Age of Iron 7) Marie Clements is a complex and fascinating theatre artist: dramatist, actor, and director. Her plays are intellectually provocative and challenging, presenting Aboriginal (and feminist issues in a highly painterly style; her website describes Copper Thunderbird as a two-act play on canvas. As Brenda Leadlay, Artistic Director of Presentation House Theatre, comments, the work is consistently poetic, imaginative and moving. Mixing western theatrical practice with techniques of Aboriginal storytelling and ritual, Clements interrogates specific historical events (as, for example, the serial murders of Aboriginal women, the development of the atom bomb, the reductive depictions of The Indian Musicale) and individual memories (as, for example, of domestic abuse, the traumatic residue of Residential school, and the repression of The System Chorus). As I have elsewhere argued at greater length, her vision is never simple. Typically, she considers a number of overlapping themes at the same time, simultaneously locating both the differences and the links among these political, racial, and gender strands in a layered semiosis (Shine). She combines visual and sound patterns, (2) physical movement, and the fluidity of dreamscapes moving through time and space with hard, urban diction and apparently realistic plots (Profile). Her stylistic palate is equally complex: she embraces and--again--queries both the Western and Aboriginal modalities she employs, appropriates, re-appropriates, and revises (within the complexity of allusion in her early plays and more directly in her most recent work). Such hybridity and reference make her work compelling and invite examination; her work also presents a problem for analysis. Clements views her own plays (and herself) as reflective of he interconnected subjectivities so obvious in Canada: amalgams of influences, histories, educational backgrounds, performance styles, races, and genders (Personal interview). Her work--as playwright, director, and Artistic Director--reflects the kind of performative negotiation Ric Knowles marked as characteristic of all public performance in Canada [...,] constituting [...] subjectivities that have inevitably been displaced, hybrid, or diasporic: between settler/invader cultures and First Nations [and] among subsequent waves [...] of immigration (v). Clements writes against this reality of historical dislocation and the silencing of First Nations voices, yet analysis that aims to salute this politic may, in fact, perpetuate colonization by employing Eurocentric methodologies and theories, especially if the critical voice is non-Aboriginal. Further, by alluding to Classical drama, Jacobean revenge, Renaissance Romance, pop culture, American television, and film noir (among other forms), Clements's plays further challenge analysis: how to consider her use of such references without losing sight of her simultaneous critique of them in ironic, sometimes searing, and--even more problematizing--often tongue-in-cheek portrayals? This collection of essays grew from papers originally presented at the Canadian Association for Theatre Research conference in 2008 and from a subsequent Call for Papers. Each of the authors who responded recognizes and acknowledges the problematic inherent in reading Clements, but necessarily speaks from her or his non-Aboriginal subjectivity and the training of the Canadian academy. I, therefore, invited Michelle La Flamme to write an article from her subject-position within the Academy, to give voice to a different tradition of performative medicine, and to offer a brief preface to the collection. …
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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 | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.003 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.004 |
| Insufficient payload (model declined to judge) | 0.388 | 0.140 |
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".