Bibliographic record
Abstract
Ana’s Shadow Tara Goldstein (bio) Click for larger view View full resolution Set of Harriet's House. Set by design by Esther Kim Photo by Jake Goldstein [End Page 60] Introduction Over the past twelve years, I have been working with the research approach of “performed ethnography” to support and enrich the professional development work I do with teachers working in diverse classrooms across Canada and internationally. My performed ethnographies have been used in classrooms and conferences in Australia, Brazil, Singapore, and the United States, as well as Canada. For the past three years, I have been conducting a research study that has resulted in a pair of performed ethnographies about transnational adoption in a same-sex family: Harriet’s House and Ana’s Shadow. I became interested in the topic because of its potential to provoke rich discussions about a wide variety of issues facing diverse Canadian families: social acceptance, race and racism, language use, linguistic and cultural identity, sexual orientation and homophobia. The scripts are based on written narratives and filmed documentaries created by and about adoptive same-sex families, as well as interviews I have undertaken with families in Toronto. Harriet’s House was performed for the general public at Hart House Theatre during the 2010 Toronto Pride Festival (see www.gaileyroad.com for more information). The script has been published in my book Staging Harriet’s House: Writing and Producing Research-Informed Theatre (2012). In August 2011, Director Jocelyn Wickett and I created a five-day workshop for Ana’s Shadow, which culminated in a rehearsed reading for the general public at the 519 Church Street Community Centre in Toronto. Sixty-five people attended the staged reading. The script is currently in its sixth draft, and I continue to explore the feelings and tensions that Marty and Harriet bring to Scene Three, on the impact that cancer has on their intimate and sexual life. Click for larger view View full resolution L to r: Tara Goldstein (playwright); Gillian Lewis (stage manager); and Jorie Morrow (Anita) at the 519 Church Community Centre. Photo by Jake Goldstein Characters Harriet, mother of three daughters, the first two adopted from Colombia. Luisa, Harriet’s eldest daughter, adopted from Colombia at the age of 10. Ana, Harriet’s middle daughter, adopted from Colombia at the age of 7. Clare, Harriet’s youngest daughter, not adopted. Marty, Harriet’s wife. Anita, family friend and founder of Global Family, an international adoption agency. Time and Place The present. Harriet’s kitchen, Toronto, Canada. [End Page 61] Prelude (Harriet’s kitchen. Ana is composing a new song.) Scene One (April) (Harriet ’s kitchen. There are two closed cardboard boxes containing children’s books in clear view on stage. The family is celebrating Passover with a Seder.) Clare: (Reading from the Haggadah put together.) And now our telling of the Passover story is over. Next year, may we celebrate Passover in a world at peace. May Israel and her neighbours take courageous new steps to bring new cooperation and peace to the Middle East. And next year, may we celebrate Passover with Harriet in good health and fully recovered. (Ana grabs Harriet ’s hand. Harriet gives it a squeeze and then takes Clare ’s hand.) Harriet: Thank you. Clare: L’shana haba-a biy’rushalayim! Next year in Jerusalem! Luisa: Very nice. Harriet: A lovely Seder. Really lovely. Ana: Seder lite. I hope it was okay. I wasn’t sure how tired you’d be. Harriet: It was perfect. I’m actually feeling pretty good tonight. Marty: Thanks so much for putting it all together. Ana: Everyone helped. Marty: Yeah, but you did most of the cooking. Ana: I don’t mind. I love Passover. Harriet: Me too. I’m celebrating Passover just like I did last year, and just like I will be next year. Ana: Should I bring out the soup? Harriet: In a minute. (Toluisa .) What happened to Jorge? Luisa: I changed my mind. Harriet: Why? I wanted to meet him...
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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 | 0.001 | 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 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.002 | 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 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".