Bibliographic record
Abstract
Performances of poetry constitute significant cultural and literary events that challenge the representational limits and possibilities of transposing written words into live and recorded media. However, there has not been a comprehensive study of Canadian poetry that focuses specifically on performance. This dissertation undertakes a theorizing of performance that foregrounds mediation, audience, and presence (both readerly and writerly). The complex methodology combines theoretical approaches to reading (Linda Hutcheon on adaptation, Wolfgang Iser on the reader, and Roland Barthes on the materiality of writing) with poetics as theorized by Canadian poets (namely bpNichol, Steve McCaffery, Jan Zwicky, Robert Bringhurst) in order to argue that performances of poetry are responsive exchanges between performers and audiences. Importantly, the dissertation argues that performances of poetry call for a re-evaluation of reading as listening, thereby altering the interaction between audience and performance from passive to participatory. Arranged in four chapters, the dissertation examines a range of Canadian poets and performances: The Four Horsemen (Rafael Barreto-Rivera, Paul Dutton, Steve McCaffery, and bpNichol), dance adaptations of Michael Ondaatje’s poems, George Elliott Clarke’s poetic libretti, and Robert Bringhurst’s polyphonic poetry. Following the Introduction’s outlining of the term performance, Chapter One examines processes of recording and adapting avant-garde sound poetry, specifically in the sound and written poetry of Nichol and McCaffery. Chapter Two theorizes adaptation as a responsive reading practice in the context of dance adaptations of Ondaatje’s writing (Bruce McDonald’s Elimination Dance and Veronica Tennant’s Shadow Pleasures). In Chapter Three, Clarke’s jazz opera Québécité, with libretto by Clarke and music composed by D.D. Jackson, foregrounds a central argument of this dissertation: that multi-vocal poetics can, in fact, reconfigure multicultural politics. Chapter Four turns to polyphony as a textual representation of multi-vocality in the poetry of Robert Bringhurst. Through a close-listening to a musical poem by Jan Zwicky, the Conclusion points towards new critical directions in listening to Canadian poetry. Only in understanding how cultural and political performances are recorded, enacted and received both on and off the page can we listen, critically and actively, to our multi-voiced Canadian soundscapes.
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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 | 0.007 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.018 | 0.015 |
| Scholarly communication | 0.010 | 0.003 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.005 | 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".