No crown without the cross : the formation, existence, and disappearance of the Catholic Stage Guild of Ireland
Bibliographic record
Abstract
[ACCCSS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT REQUEST OF AUTHOR.] In December 1948, an article by Seamus Brady in The Manitoba Ensign claimed, "[The Catholic Stage Guild of Ireland] has branches in every city in Ireland, as well as in Britain, America and Australia." Its presence, according to Brady's article, was overwhelming. And yet by the 1970s, the Guild mysteriously seemed to disappear altogether from Irish society. This popularity and disappearance formulated my dissertation's primary research question: how did the life of the Catholic Stage Guild of Ireland (its birth, success, and disappearance) reflect twentieth century Irish Catholicism and its relationship with the nation? This question encouraged numerous subsidiary questions including: how was the Guild as popular as Brady claims? And if it indeed was as Brady claims, then why did it extinguish? This dissertation seeks to uncover whether the Catholic Stage Guild of Ireland's seemingly short, but powerful years emulating the status and movements of Irish Catholicism in the twentieth century The Catholic Stage Guild of Ireland dramatically depicted the heartaches and successes of the Irish Catholics. Created by firm Catholics during a time in which the religion was celebrated, then altered, then slandered, the Catholic Stage Guild offers insight into individual attitudes concerning the state of the country and its primary religion. A study of the Catholic Stage Guild (which until now has not been conducted) will not only examine the history and purpose of this group of Catholic artists, but also falls in the foreground against the backdrop of twentieth century Ireland and provides insight into the movements of Irish Catholicism and nationalism during this time. Ultimately, this dissertation provides a historical context for Catholics to understand the relationship between Irish Catholicism, Irish nationalism and Irish theatre in the twentieth century, as well as provides non-Catholics with a sense of the importance of a Catholic Stage Guild in a time consumed by religious conflict.
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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 | 0.004 | 0.008 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.012 | 0.021 |
| Scholarly communication | 0.008 | 0.004 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.001 | 0.005 |
| Insufficient payload (model declined to judge) | 0.002 | 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".