From souvenirs of Canada to global dystopia: nostalgic Canada and a globalized world in the work of Douglas Coupland
Bibliographic record
Abstract
Douglas Coupland is a multifaceted artist: novelist, non-fiction writer and visual artist. Coupland shows his local Vancouver, his nation of Canada and encompasses the global transnational dimension. This thesis sequentially explores each of these geographical marks to analyse the recurrent use of concepts of (cultural) citizenship, settler colonialism, the Canadian postmodern, transnationalism, cosmopolitanism and globalization in a cross-section of Coupland’s oeuvre. \n \nIn chapter one, Coupland’s Souvenir of Canada books are discussed. Souvenir of Canada unfolds the national identity and cultural citizenship of Coupland’s Canada through Canadiana. The artistic use of the concept of cultural citizenship in Souvenir of Canada is equally analyzed to categorise the genre of the books. \n \nChapter two analyzes local citizenship and dystopia in the early 2000s in Coupland’s Vancouver set works Girlfriend in a Coma (1998), Hey Nostradamus! (2003) and his non-fiction book City of Glass (2000). These works are examined through the theoretical ideas of Yi-Fu Tuan to manifest how Coupland’s hometown is simultaneously a place of belonging and uncanniness. \n \nChapter three addresses the depiction of Canadian cultural identity on the one hand and postmodern detachment and globalization on the other in Coupland’s Monograph Everywhere is Anywhere is Anything is Everything (2014). This chapter builds upon nostalgia, and the use of space-time compression. \n \nChapter four evidences alienation and dislocation as consequences of globalization and transnationalism in Life after God (1994) and Eleanor Rigby (2004). Putnam is utilized to analyze the effect of globalization on society and also the characters’ axis of movement is taken into account. \n \nChapter five, through theory of globalization, cosmopolitanism and cultural citizenship, examines personal relationships of Canadians in Coupland’s Generation A (2009) and Player One (2010) as means to deal with looming apocalypse.
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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) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.041 | 0.035 |
| Scholarly communication | 0.012 | 0.004 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.002 | 0.005 |
| Insufficient payload (model declined to judge) | 0.005 | 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 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".