Staged Representation of Indian Residential School’s Trauma in both Harrison’s Stolen and Loring’s Where the Blood Mixes
Bibliographic record
Abstract
The history of Indigenous peoples has recently been the focus of numerous academic studies. These studies highlight the various challenges they face, including racism, discrimination, violence, human rights violations, and the destruction of culture. They have spread across different countries such as Africa, North America, Canada and Australia. Indigenous communities have faced a prolonged era of colonialism which has had a disruptive effect on their social structures, and cultures. The advent of white settlers, seeking to occupy Indigenous lands and destroy their cultures, has had a devastating impact on Indigenous populations. The paper examines the severe impacts of the European practices on both countries such as assimilation and racism. Substantially, this article studies the impact of Indian Residential schools in both Australia and Canada by examining Jane Harrison’s Stolen (2014) and Kevin Loring’s Where the Blood Mixes (2009). The study also analyzes the aspects of the Stolen generations in Australia and the forcible removal era in Canada. This study will adopt trauma theory as a critical lens to examine two dramatic works: Stolen by Jane Harrison, and Where the Blood Mixes by Kevin Loring. It also aims at proving how trauma became inheritance in the life of Indigenous populations. Furthermore, the study shows how the two playwrights utilize the past experiences and memory of pain to clarify the present acceptance and challenge. Ultimately, this study highlights the role of theatre in exposing the ongoing consequences of the assimilation policy as well as providing a voice to the survivors.
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 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.019 | 0.022 |
| Scholarly communication | 0.008 | 0.003 |
| Open science | 0.002 | 0.011 |
| Research integrity | 0.002 | 0.005 |
| 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".