The Chinese Canadian writer Larissa Lai’s
Bibliographic record
Abstract
futuristic novel Salt Fish Girl imagines a mythic femininity that persists even amid its attempted suppression by transnational globalisation. Lai uses myth as a redemptive layer of experience, but does not do so in a modernist way that would elevate absolutes. She uses myth in a critical way that accepts the epigenous as equally a part of the texture as the original. In this way, Lai’s novel is relevant to discourses of transfeminism, and can liberate transfeminism from just being a term that literally denotes transsexual identity politics, to a broader spectrum of discourse in which the experience of transgendered people can inform feminism generally. Applying a transfeminist analysis to the novel also elucidates how Lai makes connections between Chinese Canadian and Japanese Canadian experience that bridge longstanding differences in a common stand against transnational exploitation. ‘Transfeminism ’ is a word that has gained a great deal of currency among women’s and queer communities. Yet the concept of transfeminism has not found much of a home in literary criticism or theoretical discourse concerning literary texts. In perhaps the most lucid definition of transfeminism, Emi Koyama (2006) asserts that transfeminism is “a movement by and for trans women who view their liberation as intrinsically linked to the liberation of all women and beyond”. Yet, even after Koyama’s lucid definition, there seems a fundamental uncertainty about whether transfeminism is specifically a feminism for transgendered women, a feminism that seeks to include the experience and discourses of transgendered women as a fully enfranchised part of the feminist spectrum (see Heyes 2003), or a feminism that defines the ‘trans- ’ prefix in a maximally heterogeneous way, focusing on transnationalism and transgendered articulations of identity in understanding the cultural formations at play in the identity of women in the twenty-first century. This article analyses the Canadian postcolonial feminist
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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 | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.028 | 0.009 |
| Scholarly communication | 0.006 | 0.002 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.014 | 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".