Bibliographic record
Abstract
“Generic instability is undeniably a fundamental characteristic of postmodern writing,” as Marta Dvořák argues. Given this instability, one might assume that genre theory no longer functions as a useful tool for interpreting the novel. However, Fredric Jameson argues that traditional genres do not disappear from postmodern fiction, so much as resurface in dissonant states of juxtaposition. Genre analysis takes on a heightened importance in this context because it illuminates the complex ways in which authors break down literary codes and force readers to negotiate overlapping frames of generic and cultural reference. This intersection of formal and cultural concerns can be illustrated by surveying two prominent traditions of crossgenre experimentation in Canada. The first combines lyric with novelistic techniques, while the second, which evolves from a different set of circumstances, yet enters into dialogue with the poet-novelist tradition, adapts dramatic devices to the novel. By compelling these dissimilar genres to intermingle, the authors illustrate how cultures interact in Canada through form as well as declarative statements. Leonard Cohen The work of Leonard Cohen exemplifies the poet-novelist phenomenon. A student of the novelist Hugh MacLennan at McGill University, and a Jewish writer in English who revered the poet-novelist A. M. Klein as a surrogate father figure, Cohen produced two landmark novels about crossing cultural solitudes in the 1960s. The Favourite Game (1963) depicts the attempts of Lawrence Breavman to break out of his Jewish Westmount enclave. Breavman courts WASP and Québécois women, immigrates briefly to the United States, and celebrates and satirizes his Jewish heritage.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.003 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.012 | 0.053 |
| Scholarly communication | 0.012 | 0.004 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.003 | 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".