Presencia indigena en el teatro de México y Canadá: Una aproximación desde las humanidades públicas
Bibliographic record
Abstract
This thesis is a comprehensive approach to the theatrical traditions of Mexico and Canada. Through a multidisciplinary analysis of plays, institutions and creators, this study involves theoretical notions such as phenomenological body, embodiment, spatiality and temporality, public sphere, agency, cultural appropriation, and resistance. Implementing a wide-ranging category of analyses like presence —defined as physical appearance and visibility of aboriginal peoples in the Americas— this work represents a novel interpretation of indigenous cultural production. At the same time, my research promotes a hemispheric dialogue between the Global North and South that has been seldomly and insufficiently explored in cultural terms. Focused on the human element and the physical body, theatre in the Americas has historically been legitimized as a synthesis between European traditions and millenary performing practices of the peoples that already inhabited the land upon the arrival of conquerors. Discursive confluences and performative potentialities define the impact of theatre as a mechanism of colonial domination, but also as a testament to the ethnic survival of indigenous populations in Mexico and Canada. During five centuries of documented practice, on the one hand, theatre reduces and supplants subaltern identities in an unbalanced economy of power; on the other, the stage becomes a counter-hegemonic place of enunciation that highlights the continuity of ancestral genealogies to the present day. Through body agency and physical features, indigenous presence in performance makes patent the aboriginal survival against the myth of racial evanescence and forced invisibilization of oppressed minorities under dominant codes. With this value of memory and archive, native theatre and presence not only certify an ancestral human existence in the Americas, but also aboriginal territorial and social rights. On top of that, the public nature of performing arts favours community mobilization at local and hemispheric levels, and involve consensuses on ideals of modernity, tradition and national imaginaries
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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 | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.002 | 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; both teacher heads agree on what is shown here.
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".