Bibliographic record
Abstract
Canadian theatre has achieved a high level of popularity in Latin America, where its dynamism and creativity are increasingly appreciated, and it is now widely translated both for production and publication. Much of this success has been the result of exchange programs between arts groups and theatre companies in Mexico, Argentina, and other countries with those in Canada. This initiative largely originated in Quebec, which began establishing such bilateral agreements with Latin American countries, especially Mexico, as early as the 1980s, and followed them up with residencies, theatre festivals, tours, and a continual stream of funding for translations. In fact, at the present time, there are possibly as many Quebec plays produced in Latin America as in English Canada. Canadian plays, both in English and French, are also now regularly staged in Mexico, Argentina and Brazil, and have been translated, performed, and published in a number of other countries, including Colombia, Venezuela, Chile, Uruguay, Paraguay, and Peru. Moreover, their reach has not been limited only to national capitals: they have also toured smaller cities, thus spreading Canadian theatre far beyond the usual venues. Quebec and many Latin American countries share a tradition of government funding and promotion of culture and art, which is also found, though with a more diffused focus, in Canadian federal government programs. Ever since the Révolution tranquille of the 1960s and 1970s, Quebec has been anxious to break out of its relative linguistic and cultural isolation and reach beyond the 340 million Anglophones that surround it in order to establish strong new ties with Latin America, thus reinforcing its own latinité and also proclaiming its américanité, its place in the Americas, in which the majority of inhabitants now speak languages other than English.
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 | 0.009 | 0.039 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.012 | 0.017 |
| Science and technology studies | 0.008 | 0.004 |
| Scholarly communication | 0.010 | 0.002 |
| Open science | 0.002 | 0.006 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.079 | 0.016 |
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".