„Zwischen den Welten“. Zum Konzept des Liminalen im Theater polnischer Migrant*innen in Deutschland
Classification
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".
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
In this article, I ask to what extent and through what semantic means Polish theatre artists use the concept of liminality as a preferred theatrical strategy for addressing issues related to the cultural diversity of contemporary society. Particularly, I look at the rigidity and impermeability of (mental) borders in Europe, the typically difficult (or impossible) process of arriving in a new place, and the often related experience of marginalization. I analyze “staged liminality” on three levels: the personal one (the state of liminality as the mental condition of individual characters), the semantic one (the state of liminality as a metaphor for the fate of migrants and the associated sense of ambivalence and ambiguity), and the spatial one (the theatrical “representation”/”staging” of urban space as a transitional space). In doing so I highlight three constitutive elements of Polish migrant theatre by artists of the younger generation of immigrants in Germany: First, their works reflect on the issues of identity and belonging related to the concept of liminality; second, they thematize the socio-political stigmatization of migrants and refugees and the resistance it generates; and finally, the artists attempt to overcome such a state of affairs by treating theatrical activity as a kind of intervention. Turner’s concept of liminality, with its three phases, offers a productive framework to reflect on the specificity of the theatre of Polish migrants in the context of postmigrant theatre and the German theatrical landscape more generally.
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 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) | 0.001 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 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 it