Jouve Martín, José R., and Stephen Wittek, eds. Performing Conversions: Cities, Theatre and Early Modern Transformations
Bibliographic record
Abstract
This second installment of the press's Conversions series emerged from the Early Modern Conversions project, which culminated in 2019 (earlymodernconversions.com/).Its principal investigator, Paul Yachnin, is also the series co-editor, along with Bronwen Wilson.They co-sign a preface that situates Performing Conversions in relation to the wide-ranging research collaboration based at McGill University, which contemplated the period from 1400 to 1700 as the first global Age of Conversion.In keeping with this framework, Jouve Martín and Wittek structure their volume as an itinerary through a selection of cities-Lima, London, Venice, Madrid, Amsterdam, three in the Swiss Confederacy, and Mexico.They proffer the sampling as a "brisk, meandering tour of select sites that collectively make important, underlying trends easier to see" ( 9).As a conceptual road map, the introduction, "Conversion, Cities and Theatre in the Early Modern World, " notes that "the question at the core of Performing Conversion concerns the ability of theatre to model, interrogate, inspire, condition and constitute conversional experience within the special representational space of the stage" (3).Each chapter has a thematic title, presumably from the contributing author.In parallel, the editors added running page headings that identify each contribution with reference to the city under scrutiny.In chapter 1, "Venice: The Converted City, " Iaian Fenlon ponders conversion in the broad socio-cultural context of this metropolis.Fenlon demonstrates how theatrical public displays of civic piety in the later sixteenth century reified the "Myth of Venice, " long construed in terms of the city's selfconception as an independent republic led by benevolent patricians for the benefit of all its citizens.The myth's new iteration took shape through such dramas as processions and festivities, which portrayed this fiercely commercial metropolis as a conversion-oriented "City of God" (28).In chapter 2, "Turnings: Motion and Emotion in the Labyrinths of Early Modern Amsterdam, " Angela Vanhaelen provides the most resolutely secular exploration of conversion in the volume, walking readers through the
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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 | 0.002 | 0.002 |
| Meta-epidemiology (narrow) | 0.002 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.003 | 0.005 |
| Science and technology studies | 0.002 | 0.004 |
| Scholarly communication | 0.007 | 0.008 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.003 | 0.003 |
| Insufficient payload (model declined to judge) | 0.015 | 0.005 |
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".