Staging Korean Haenyeos in Celine Song’s Endlings: Diasporic Subjectivity Torn between Ethnic Lineage and Metatheatrical Satire
Bibliographic record
Abstract
In March 2020, haenyeos—Korean female sea divers who make their living by harvesting seafood without any breathing support apparatus—debuted on the New York stage in Celine Song’s play Endlings at New York Theatre Workshop. The play’s title indicates that being a haenyeo is a disappearing way of life that the younger generation will not learn or follow. The play comprises two distinct segments and locations: the first act tells the stories of three haenyeos on Man-Jae, an island near South Korea’s Jeju Island, while the second part focuses on Ha Young, who is trying to succeed as a playwright on the island of Manhattan in New York. Mourning the extinction of a pursuit that has existed for hundreds or even thousands of years, the first part of the play pays heartwarming tribute to the haenyeos. In the second part, however, the play juxtaposes the stories of the haenyeos with the topics of immigration, real estate, and the survival of a millennial Korean Canadian playwright, abruptly turning into a cynical metatheatrical satire about the white/other binary racial paradigm and the politics of representation. The issue of authenticity looms too large, reducing the grand, resilient spirit of the haenyeos to a mere theatrical device, and the play ends up missing the rare opportunity to tell a powerful story of the haenyeos.
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 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.016 | 0.013 |
| Scholarly communication | 0.008 | 0.006 |
| Open science | 0.001 | 0.008 |
| Research integrity | 0.001 | 0.004 |
| Insufficient payload (model declined to judge) | 0.006 | 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".