Bibliographic record
Abstract
The anthologies and plays reviewed here offer some exciting possibilities as to how theatre can deal with tragic historical events, interrogate fixed identities, open up new narratives and challenge audiences to look at Canadian theatre and Canada in a different way. Although the plays vary in subject and style, all, in one way or another, are indicative of how Canadian theatre is being influenced by what Northrop Frye refers to as “a post-national consciousness,” a notion Damiano Pietropaolo uses in his preface to Where Is Here? The Drama of Immigration. In this new collection, Pietropaolo has anthologized twelve original radio dramas commissioned by CBC’s national radio drama program, Sunday Showcase. The plays featured tell a wealth of different stories on the theme of immigration, all of which draw attention to the way place informs the immigrant experience and identity. A Terrible Truth, a two-volume anthology of Holocaust drama compiled by Irene Watts, which includes a significant Canadian representation, raises questions about how, and even if, theatre should respond to a tragedy as incomprehensible as the Holocaust. Contextualized in Kertzer’s thorough introduction, the varying plays featured in these two volumes touch on many different aspects of the Holocaust and challenge the audience with questions that seem unanswerable. In The Plum Tree, Mitch Miyagawa confronts the past in this play about the effects of the forced internment on several generations of a Japanese-Canadian family. Lastly, in China Doll, Marjorie Chan uses the tradition of foot-binding to bring to life the story of a young girl caught in the social and political changes taking place in early-twentieth-century China.
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 | 0.003 | 0.019 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.007 | 0.010 |
| Science and technology studies | 0.001 | 0.002 |
| Scholarly communication | 0.006 | 0.007 |
| Open science | 0.002 | 0.003 |
| Research integrity | 0.003 | 0.004 |
| Insufficient payload (model declined to judge) | 0.013 | 0.004 |
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".