Bibliographic record
Abstract
Critics Northrop Frye and, more recently, Linda Hutcheon have commented tellingly on \nthe relationships that exist among Canadian art, music and literature. Perhaps surprisingly, aside \nfrom an incidental comment here and a descriptive comment there, Canadian criticism has been \nvery reluctant to investigate this promising complex of ideas. The training in music, for \nexarnple, of such writers as Charles G. D. Roberts, Robert Finch and Sinclair Ross has usually \nbeen treated as a matter ofbiographical fact rather than as something which might be of \nsignificance to their work. \nHelen Weinzweig, a Canadian writer, has made extensive and significant use of music \nand visual art in her fiction. It may be an informative comment on the focus of Canadian \ncriticism that Weinzweig's published work to date ? two novels and a number of short stories - \nremains largely unexplored, and, on the issue of her use of music and art in her work, virtually \nignored. But a close examination of the work shows that Weinzweig uses both music and art in \nan integral way not merely to indicate the broad cultural spectrum from which she can draw to \nenrich the texture of her work, but also in a structural way to link pattern and meaning. For the \nmost part rejecting conventional fictional structures, Weinzweig employs music and art, under \nthe integrating power of memory, in order to offer her readers more fully charged, alternative \nviews of life. \nThis thesis proposes to examine Weinzweig?s use of allusions and structures from music \nand art, in concert with the power of memory, in an effort to explicate the peculiar power of her \nprose fiction. Emphasis in the thesis will be on the short stories although there will be some \ndiscussion of the novels as well. The thesis will be organized in the following way. Following a \nbrief introduction, chapter one will examine Weinzweig's use ofvisual art and artists in the \nstories; chapter two will explore musical allusions and structures in the stories and in the novel, \nBasic Black with Pearls?, a brief conclusion will be provided.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 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 teacher head, 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".