{"meta":{"query_hash":"6f4812cae54f","filters":{"venue":"Connotations"},"cohort_total":6,"direct_labels_cover":0,"predictions_cover":6,"exported":6,"export_cap":100000,"truncated":false,"label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12"},"permalink":"https://metacan.xera.ac/q/6f4812cae54f","api":"https://metacan.xera.ac/api/v1/cohort?venue=Connotations"},"results":[{"id":"W2291843620","doi":"","title":"\"A Chorus Line\": Margaret Atwood's Penelopiad at the Crossroads of Narrative, Poetic and Dramatic Genres*","year":2014,"lang":"en","type":"article","venue":"Connotations","topic":"Utopian, Dystopian, and Speculative Fiction","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetry; Literature; Narrative; Idyll; Chorus; Ballad; Drama; Art; History","score_opus":0.025385394755193014,"score_gpt":0.24553761432898155,"score_spread":0.22015221957378853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2291843620","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13706549,0.013976338,0.0024747758,0.06145971,0.004795134,0.000076046315,0.00011305179,0.00025908137,0.77978045],"genre_scores_gemma":[0.5283884,0.003511366,0.0011804856,0.012083469,0.0007199409,0.00005372469,0.00007431123,0.00025587654,0.45373237],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9994616,0.00023855864,0.0000063134116,0.00007154377,0.00010688524,0.000115081086],"domain_scores_gemma":[0.99968016,0.00006676996,0.000025952075,0.000014807,0.000035481622,0.00017675859],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004312011,0.00057956285,0.0001812827,0.00056255277,0.010439366,0.0049062693,0.000631075,0.0014494323,0.011101144],"category_scores_gemma":[0.000848795,0.00022787225,0.00013028811,0.00046798133,0.0050429325,0.0031177578,0.0032247151,0.0037811066,0.002333014],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012562441,0.00010762311,0.0008555178,0.00014245324,0.000005827908,0.0029212593,0.36822084,0.00006965629,0.0015279753,0.15770517,0.42784387,0.04047412],"study_design_scores_gemma":[0.0000041381395,0.000029410805,0.0006838566,0.00012362294,0.000002497147,0.0011902839,0.077645354,0.000044980403,0.0004538811,0.002262114,0.91754967,0.000010174587],"about_ca_topic_score_codex":0.011521587,"about_ca_topic_score_gemma":0.045303203,"teacher_disagreement_score":0.011521587,"about_ca_system_score_codex":0.0029282838,"about_ca_system_score_gemma":0.001090178,"threshold_uncertainty_score":0.03713709},"labels":[],"label_agreement":null},{"id":"W2595458691","doi":"","title":"A Response to \"The Return of the Dead in Margaret Atwood's Surfacing and Alias Grace\"*","year":2009,"lang":"en","type":"article","venue":"Connotations","topic":"Utopian, Dystopian, and Speculative Fiction","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetry; Character (mathematics); Literature; Narrative; Art; History; Art history; Criticism","score_opus":0.03032806977128119,"score_gpt":0.24879957018170698,"score_spread":0.2184715004104258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2595458691","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004530779,0.005499563,0.00042465323,0.93601024,0.02675412,0.000054674303,0.000113117545,0.000111791785,0.026501052],"genre_scores_gemma":[0.047579225,0.003128908,0.00057054136,0.7728497,0.009975383,0.00016797351,0.000099776946,0.00035721617,0.16527125],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970784,0.0013326377,0.00011093453,0.0003794824,0.0005302927,0.00056839496],"domain_scores_gemma":[0.99573743,0.0021743623,0.00034863828,0.00011493,0.00062031345,0.001004368],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023851627,0.0014240647,0.0006570892,0.000618783,0.015120755,0.0056508314,0.0023651628,0.018771488,0.020895228],"category_scores_gemma":[0.009861951,0.0005548365,0.00049216714,0.0008802938,0.0057670344,0.0046050106,0.0058844625,0.02104939,0.0042188056],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020539444,0.000008488228,0.000096012336,0.000055953158,0.0000020928028,0.00039109818,0.015186659,0.000010896856,0.0001582597,0.007262576,0.9747338,0.0020735888],"study_design_scores_gemma":[0.0000058352803,0.000015494097,0.00037398326,0.00019254975,0.0000024476835,0.00027109645,0.027913349,0.000020738393,0.000107751875,0.00077752257,0.9703031,0.00001608291],"about_ca_topic_score_codex":0.021158358,"about_ca_topic_score_gemma":0.06057052,"teacher_disagreement_score":0.021158358,"about_ca_system_score_codex":0.0055142874,"about_ca_system_score_gemma":0.0037225927,"threshold_uncertainty_score":0.06990147},"labels":[],"label_agreement":null},{"id":"W2603122835","doi":"","title":"Ambiguity and the Poets","year":2008,"lang":"en","type":"article","venue":"Connotations","topic":"Lexicography and Language Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Casual; Ambiguity; Reputation; Order (exchange); Visitor pattern; Sociology; Law; History; Computer science; Law and economics; Linguistics; Philosophy; Political science; Business","score_opus":0.04008596349166054,"score_gpt":0.20814649155850695,"score_spread":0.1680605280668464,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2603122835","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026632695,0.016550627,0.00880147,0.046532318,0.0023282415,0.000036299345,0.000082511295,0.000088611225,0.89894724],"genre_scores_gemma":[0.9169564,0.004098892,0.002471836,0.0047020204,0.0016128445,0.00007343524,0.000070595925,0.00015772093,0.069856286],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99620974,0.0025270167,0.000096634794,0.0003767559,0.00048405444,0.0003057383],"domain_scores_gemma":[0.99621516,0.0025001494,0.00024824357,0.00048088294,0.00025251383,0.00030314722],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038884953,0.0007782013,0.00052103697,0.0020673769,0.011749794,0.0127011705,0.001114975,0.00406744,0.0086318785],"category_scores_gemma":[0.008456088,0.0003861996,0.0003612736,0.0019459715,0.061063156,0.015190447,0.006955863,0.0072271572,0.0018009988],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012559743,0.000004413276,0.00007618251,0.000015837864,0.000001355596,0.00007333426,0.010256465,0.00003874178,0.000025690972,0.98267984,0.00437491,0.0024406563],"study_design_scores_gemma":[0.000011552957,0.00001197938,0.00019742364,0.00012112691,0.0000028391287,0.00027668814,0.010309047,0.00018168587,0.00008830316,0.78006846,0.2087163,0.000014700949],"about_ca_topic_score_codex":0.0014287982,"about_ca_topic_score_gemma":0.0014218424,"teacher_disagreement_score":0.0127011705,"about_ca_system_score_codex":0.002817386,"about_ca_system_score_gemma":0.0013053288,"threshold_uncertainty_score":0.028876543},"labels":[],"label_agreement":null},{"id":"W2604351850","doi":"","title":"Ghosts, Knowledge and Truth in Atwood: A Reader's Guide to Six Responses*","year":2009,"lang":"en","type":"article","venue":"Connotations","topic":"Utopian, Dystopian, and Speculative Fiction","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Contradiction; Ambivalence; Argument (complex analysis); Alias; Reading (process); Psychoanalysis; Rhetorical question; Innocence; Paraphrase; Literature; Psychology; Philosophy; Epistemology; Art; Linguistics; Computer science","score_opus":0.03976288580529783,"score_gpt":0.3088147168767078,"score_spread":0.26905183107140995,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604351850","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06602729,0.15431485,0.026948648,0.4179773,0.049893968,0.002198967,0.0014991369,0.0011681409,0.27997163],"genre_scores_gemma":[0.25128168,0.12323746,0.029038718,0.13949849,0.011577497,0.004120803,0.0017545401,0.0024850853,0.43700567],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99445736,0.004159256,0.00025319264,0.0001901902,0.00056821416,0.00037170338],"domain_scores_gemma":[0.9883847,0.008858567,0.0005814496,0.00026699263,0.0010362148,0.00087192404],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005039314,0.0023895192,0.00089263514,0.0033920812,0.0096398555,0.008069023,0.0025127323,0.0053932928,0.00989763],"category_scores_gemma":[0.015123006,0.0006303107,0.000633711,0.0028670973,0.008604436,0.006649889,0.007484944,0.008138558,0.0036731563],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014040635,0.00020084745,0.00086799293,0.0011573576,0.000012635377,0.0020919547,0.5073566,0.0001410819,0.0014573303,0.075304806,0.36192185,0.04934728],"study_design_scores_gemma":[0.0000053467056,0.0000551061,0.0004494859,0.00096061704,0.000003416788,0.00068200374,0.136683,0.00006645378,0.00023835173,0.0044083074,0.8564199,0.000028018501],"about_ca_topic_score_codex":0.004449947,"about_ca_topic_score_gemma":0.007578837,"teacher_disagreement_score":0.00989763,"about_ca_system_score_codex":0.0043570376,"about_ca_system_score_gemma":0.003521999,"threshold_uncertainty_score":0.033110857},"labels":[],"label_agreement":null},{"id":"W2732345052","doi":"","title":"Surfacing from Six Feet Under: A Response to Burkhard Niederhoff*","year":2009,"lang":"en","type":"article","venue":"Connotations","topic":"Short Stories in Global Literature","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theme (computing); Literature; Motif (music); History; Poetry; Interpretation (philosophy); Art; Aesthetics; Philosophy; Linguistics","score_opus":0.022168063866440983,"score_gpt":0.2595043584316115,"score_spread":0.23733629456517052,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2732345052","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019621665,0.009269351,0.00019222932,0.9710952,0.010945964,0.000008533766,0.000025047424,0.000019304787,0.00648214],"genre_scores_gemma":[0.071716,0.012349339,0.00090113864,0.84958905,0.013923088,0.00007450708,0.00004212594,0.00023467792,0.051170018],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9904145,0.004469736,0.0002521703,0.0010454357,0.0024595603,0.0013586046],"domain_scores_gemma":[0.9855934,0.008800005,0.0004872563,0.00034078932,0.0025172757,0.0022612764],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008341216,0.0011357756,0.0011193383,0.0016475102,0.0239118,0.011186387,0.002985594,0.01582485,0.00667095],"category_scores_gemma":[0.024889745,0.0007483306,0.0004983085,0.0020148272,0.019467713,0.014391106,0.0071725072,0.031406775,0.0017200575],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025506883,0.000018792805,0.00015961443,0.0000607386,0.000004249927,0.0005557218,0.03033811,0.000039942897,0.00011281265,0.03369498,0.929224,0.0057654856],"study_design_scores_gemma":[0.000008994776,0.000012109832,0.0003065211,0.00033650748,0.0000044841986,0.0004861058,0.059749626,0.000073688425,0.00016367134,0.0103922505,0.92840785,0.000058145542],"about_ca_topic_score_codex":0.08306603,"about_ca_topic_score_gemma":0.11003792,"teacher_disagreement_score":0.08306603,"about_ca_system_score_codex":0.011207585,"about_ca_system_score_gemma":0.011388473,"threshold_uncertainty_score":0.16516507},"labels":[],"label_agreement":null},{"id":"W2778254559","doi":"","title":"The Psychoanalytic Theme in Margaret Atwood's Fiction: A Response to Burkhard Niederhoff*1","year":2009,"lang":"en","type":"article","venue":"Connotations","topic":"Utopian, Dystopian, and Speculative Fiction","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Oryx; Psychoanalysis; Dystopia; Literature; Art; Sociology; History; Psychology","score_opus":0.03199666402383871,"score_gpt":0.2737558327859337,"score_spread":0.24175916876209497,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2778254559","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0060273563,0.044110034,0.0008499201,0.85711616,0.033912003,0.000025403102,0.00003648657,0.00006542683,0.057857208],"genre_scores_gemma":[0.25337297,0.027736016,0.001380673,0.57146,0.038054198,0.00024536683,0.000068717316,0.0003425654,0.1073394],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99542737,0.002924801,0.00004769548,0.00031236967,0.00075912377,0.00052861194],"domain_scores_gemma":[0.99679416,0.0021131197,0.00019200976,0.000087774184,0.00031623684,0.0004967163],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029654738,0.0012798809,0.00085057656,0.0013696372,0.021093197,0.0073489984,0.0028264392,0.011015357,0.0043041916],"category_scores_gemma":[0.009382821,0.00042103874,0.000536598,0.0010947745,0.029915005,0.006743853,0.007848448,0.022028128,0.0011185362],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028033532,0.00003003045,0.00011484698,0.00010758852,0.0000057152774,0.0013616862,0.0813646,0.00005741119,0.00011922919,0.1359859,0.7761664,0.0046586855],"study_design_scores_gemma":[0.000006309847,0.000014174252,0.00015490044,0.000368298,0.000002537092,0.0011129834,0.04408743,0.00007547589,0.000076661316,0.010993645,0.9430908,0.000016720362],"about_ca_topic_score_codex":0.016576054,"about_ca_topic_score_gemma":0.02262687,"teacher_disagreement_score":0.021093197,"about_ca_system_score_codex":0.00947797,"about_ca_system_score_gemma":0.0036541147,"threshold_uncertainty_score":0.068767846},"labels":[],"label_agreement":null}]}