{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":42,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":42,"direct_label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline (scores rank; they never assert a category)","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12","author_layer_release":"2026-06-26"},"query_hash":"db33ad7b63f1","filters":{"venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations"}},"results":[{"id":"W3162403347","doi":"10.18274/dqvh8224","title":"Shakespeare and the Eighteenth-Century Actress","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Historical Art and Culture Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"TRACE (psycholinguistics); Presentation (obstetrics); Art; Ornaments; Art history; Visual arts; Literature; History; Philosophy; Style (visual arts)","authors":[{"name":"Fiona Ritchie","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01739607038355971,"gpt":0.2006128223102588,"spread":0.1832167519266991,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001410003,0.0003500494,0.0002486432,0.001336592,0.01748725,0.005638354,0.0003962751,0.001105761,0.004098763],"category_scores_gemma":[0.00185644,0.0002286732,0.0001064405,0.0009763588,0.01860127,0.002287084,0.002455782,0.002662111,0.0007827649],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005528457,"about_ca_system_score_gemma":0.00304822,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03990236,"about_ca_topic_score_gemma":0.09447766,"domain_scores_codex":[0.9990017,0.0004340901,0.00002991154,0.0000755264,0.0002077712,0.0002509828],"domain_scores_gemma":[0.9991737,0.0003918046,0.0001068076,0.0000409039,0.0001182118,0.0001685151],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003831172,0.0000200746,0.001749543,0.00006434216,0.000004462148,0.0008233794,0.6688294,0.00002258217,0.0001620435,0.2979035,0.01962108,0.01076119],"study_design_scores_gemma":[0.000004507969,0.00002321709,0.002990794,0.0002959561,0.000003745087,0.0004647401,0.1031298,0.00001554239,0.0002325275,0.004476825,0.8883504,0.00001192804],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2382556,0.04084601,0.000745694,0.02263963,0.001298477,0.00002135493,0.00006192433,0.00003397007,0.6960973],"genre_scores_gemma":[0.7716883,0.01268976,0.0002375997,0.001935112,0.0004790998,0.0000281323,0.00002327366,0.00004137503,0.2128773],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.03990236,"threshold_uncertainty_score":0.07934022,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3162655415","doi":"10.18274/xlrq3534","title":"Indigenizing Macbeth: Vishal Bhardwaj's Maqbool","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Art","authors":[{"name":"Suddhaseel Sen","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04477627587532054,"gpt":0.2350706037501714,"spread":0.1902943278748509,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009043963,0.0003396853,0.0002003058,0.0005617448,0.008089382,0.005742422,0.0004156455,0.0007015992,0.004514136],"category_scores_gemma":[0.001399822,0.0001940029,0.00008445996,0.0005354492,0.006671563,0.001946053,0.002456992,0.002779715,0.0005124699],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003020274,"about_ca_system_score_gemma":0.001268729,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02641258,"about_ca_topic_score_gemma":0.09362224,"domain_scores_codex":[0.9994861,0.0002215571,0.000006446618,0.00005365257,0.000119305,0.0001129795],"domain_scores_gemma":[0.9995559,0.0001803225,0.00003328811,0.00003031585,0.00007237268,0.0001278338],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001897961,0.00008003031,0.003167224,0.0002546095,0.00003830683,0.001877753,0.5522043,0.0001591347,0.00567257,0.1968017,0.1603926,0.079162],"study_design_scores_gemma":[0.0000143795,0.00004449179,0.007408042,0.0002561234,0.00002041381,0.0008203866,0.1213678,0.0001175759,0.001559073,0.00601697,0.8623405,0.0000341957],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3733099,0.01880519,0.001843526,0.04387597,0.00317588,0.00005694717,0.00005878004,0.0001507903,0.5587231],"genre_scores_gemma":[0.8564181,0.004406018,0.0006314194,0.004082094,0.0004142518,0.00002356174,0.00002130346,0.0001673312,0.1338359],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02641258,"threshold_uncertainty_score":0.05251765,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3158083620","doi":"10.18274/wslq3438","title":"The Art of Curation: Searching for Global Shakespeares in the Digital Archives","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Digital and Traditional Archives Management","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Digital curation; Data curation; Computer science; World Wide Web; Art; History","authors":[{"name":"Christy Desmet","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03838186480675775,"gpt":0.249192118775597,"spread":0.2108102539688393,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004098806,0.0003536408,0.0003469745,0.004558056,0.01386466,0.01478674,0.001122123,0.001217102,0.0063883],"category_scores_gemma":[0.01419337,0.0002367707,0.0001860279,0.004663398,0.02241183,0.008065149,0.008619189,0.001562251,0.0006555036],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.007114742,"about_ca_system_score_gemma":0.007765198,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.09436608,"about_ca_topic_score_gemma":0.194572,"domain_scores_codex":[0.9965823,0.001874936,0.0001058097,0.0003490115,0.00061931,0.0004685406],"domain_scores_gemma":[0.9946268,0.003245282,0.0005680629,0.0005751527,0.000461315,0.0005233525],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003012053,0.00001651185,0.006171918,0.00008180913,0.000006840361,0.0004199504,0.925422,0.00004951688,0.0005035331,0.03030208,0.002995046,0.03400073],"study_design_scores_gemma":[0.000005864664,0.00001618738,0.007776868,0.0001728655,0.00001131918,0.0002983884,0.8885686,0.0001130523,0.000444772,0.007330621,0.09524523,0.00001614832],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.720133,0.003709338,0.006283969,0.008408767,0.0001176438,0.0001293667,0.0001177746,0.0001680659,0.2609321],"genre_scores_gemma":[0.9803484,0.001208546,0.002378024,0.0003750105,0.00003451746,0.00002726673,0.00004702945,0.00009433636,0.0154868],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.09436608,"threshold_uncertainty_score":0.1876336,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3149786595","doi":"","title":"Serial Shakespeare: Intermedial Performance and the Outrageous Fortunes of Slings & Arrows","year":2011,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Immediacy; Theatrical production; Aesthetics; KISS (TNC); Visual arts; Literature; Computer science; Drama","authors":[{"name":"Laurie E. Osborne","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03503958467600594,"gpt":0.1932543765337676,"spread":0.1582147918577617,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001445786,0.000542461,0.0001705217,0.0008227513,0.01085883,0.008946394,0.0007272467,0.001078494,0.01033653],"category_scores_gemma":[0.002880227,0.0002730029,0.0001437263,0.0009141075,0.01412866,0.003911095,0.003990811,0.002051094,0.0007960253],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004372961,"about_ca_system_score_gemma":0.003821774,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05703845,"about_ca_topic_score_gemma":0.09872048,"domain_scores_codex":[0.9988631,0.0004957684,0.0000246995,0.0001143104,0.0002349011,0.0002672181],"domain_scores_gemma":[0.9990875,0.0003308287,0.00007476442,0.00008254966,0.000158369,0.0002660158],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001262393,0.00004011715,0.001724915,0.0001935774,0.00001025445,0.001183843,0.3070737,0.0002791271,0.001046719,0.5791599,0.06895896,0.04020258],"study_design_scores_gemma":[0.00001747055,0.00006292026,0.002699636,0.0004035549,0.00001105469,0.0005732472,0.1166785,0.0002327596,0.0008098137,0.02336149,0.855121,0.00002860453],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.1433043,0.006733777,0.003748699,0.01645592,0.001367242,0.00004824227,0.0001054607,0.0001548282,0.8280816],"genre_scores_gemma":[0.8685229,0.00215659,0.0007145701,0.0004945379,0.0003234175,0.00002832758,0.00003896451,0.0001101574,0.1276106],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.05703845,"threshold_uncertainty_score":0.1134129,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3158529900","doi":"10.18274/yqdt2582","title":"\"Playing the Men\": Ellen Tree, Fanny Kemble, and Theatrical Constructions of Gender","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Tree (set theory); Gender studies; Sociology; Art; Visual arts; Mathematics","authors":[{"name":"Anne Russell","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03445640414937957,"gpt":0.2206011245453507,"spread":0.1861447203959711,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001133062,0.0005327089,0.0002508065,0.0006821878,0.01248083,0.006060279,0.0007513787,0.001584915,0.005443539],"category_scores_gemma":[0.001643127,0.0001806424,0.0001863896,0.0004993487,0.01181836,0.004496221,0.002679334,0.003021163,0.0007757838],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003359617,"about_ca_system_score_gemma":0.001542151,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02068333,"about_ca_topic_score_gemma":0.06290931,"domain_scores_codex":[0.9990028,0.0005732411,0.00001030015,0.00008063164,0.0001924405,0.0001407268],"domain_scores_gemma":[0.9993843,0.0002715994,0.00003780734,0.00002059455,0.00007010587,0.0002156466],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001141838,0.0000943316,0.001181032,0.0001546529,0.00001254701,0.001223936,0.3757441,0.0001319536,0.001350795,0.2519045,0.3399722,0.0281158],"study_design_scores_gemma":[0.00001169925,0.00004379219,0.001740441,0.0003500251,0.000008977842,0.0005788676,0.193623,0.0002213699,0.0005446911,0.01958435,0.7832457,0.00004715714],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1789595,0.02879425,0.005134339,0.1584486,0.006941065,0.0000665214,0.0001120358,0.0002120528,0.6213316],"genre_scores_gemma":[0.7182777,0.006831535,0.002071447,0.01452666,0.0008237395,0.00007187538,0.00004460138,0.0002093582,0.2571431],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.02068333,"threshold_uncertainty_score":0.04112583,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4405428886","doi":"10.18274/hkww5437","title":"Wild Adaptation","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Demographic Trends and Gender Preferences","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Guelph","funders":"","keywords":"Adaptation (eye); Biology; Neuroscience","authors":[{"name":"Mark Fortier","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05818239862992338,"gpt":0.3022950930241722,"spread":0.2441126943942488,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00385787,0.0004374747,0.0004853843,0.001116409,0.004763394,0.004563143,0.001377262,0.001659324,0.01817412],"category_scores_gemma":[0.008191071,0.0002139492,0.0004141817,0.001160888,0.02011105,0.007084464,0.006077845,0.002833645,0.00204446],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003638366,"about_ca_system_score_gemma":0.001670591,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.004525359,"about_ca_topic_score_gemma":0.007042443,"domain_scores_codex":[0.9962732,0.001506042,0.0001570486,0.0009735151,0.0006064757,0.0004837516],"domain_scores_gemma":[0.9970407,0.0008761264,0.0001542998,0.00133759,0.0004287533,0.00016258],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001210701,0.000009869346,0.001255336,0.00003913137,0.000006624563,0.0001274141,0.01335168,0.0001107245,0.0002803468,0.9538959,0.006617577,0.02429339],"study_design_scores_gemma":[0.000004543742,0.00003168193,0.003339676,0.0001627722,0.000008565938,0.0004620162,0.01333711,0.000400323,0.0004284458,0.3180976,0.6637049,0.00002242805],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.05200397,0.002238712,0.03645882,0.01133094,0.0007748025,0.0000939969,0.0002281206,0.0002246311,0.896646],"genre_scores_gemma":[0.876337,0.001248044,0.008216892,0.003346035,0.0002267534,0.0001250378,0.000214258,0.000288591,0.1099973],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01817412,"threshold_uncertainty_score":0.06079847,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2189253497","doi":"","title":"Jazz, Shakespeare, and Hybridity: A Script Excerpt from Swingin' the Dream","year":2005,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Theater, Performance, and Music History","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Toronto","funders":"","keywords":"Dream; Swing; Jazz; Sociology; Population; Aesthetics; Art; Visual arts; Psychology","authors":[{"name":"Alan Corrigan","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01705552606327519,"gpt":0.1877980316983079,"spread":0.1707425056350327,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000360405,0.000403984,0.0001768648,0.0004490562,0.003961568,0.001946778,0.0003499044,0.0005193605,0.005370983],"category_scores_gemma":[0.001200297,0.0001304874,0.00009753685,0.0005009035,0.004599355,0.001227413,0.00164485,0.001361608,0.0008103676],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00179502,"about_ca_system_score_gemma":0.0007322549,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.009437984,"about_ca_topic_score_gemma":0.02477729,"domain_scores_codex":[0.9996777,0.0001908785,0.00001159791,0.00002176775,0.00006227975,0.00003582556],"domain_scores_gemma":[0.9997266,0.0001737537,0.00001735251,0.00001486621,0.00001975192,0.00004760174],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0002020306,0.00005571042,0.001263022,0.000333082,0.000008587056,0.003247993,0.6606572,0.0003491145,0.004013702,0.2247878,0.07271297,0.03236875],"study_design_scores_gemma":[0.00001755555,0.00006889256,0.003050255,0.0002168728,0.000006047429,0.001661938,0.2152615,0.0003353739,0.001908542,0.008298007,0.7691519,0.00002293141],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.3696052,0.006144126,0.006780846,0.01936009,0.0018017,0.0001489583,0.0005373765,0.0001789209,0.5954428],"genre_scores_gemma":[0.8484424,0.002522214,0.001411896,0.0009662234,0.0003029318,0.0000797888,0.0001994476,0.0001118582,0.1459633],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.009437984,"threshold_uncertainty_score":0.01876611,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3158057204","doi":"10.18274/ocaq3106","title":"Bardomania: Adapting Shakespeare within a Canadian Political Context","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Canadore College","funders":"","keywords":"Politics; Context (archaeology); Political science; Sociology; Literature; Linguistics; History; Art; Philosophy; Law; Archaeology","authors":[{"name":"Rod Carley","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04458518139332847,"gpt":0.2314088755490961,"spread":0.1868236941557677,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003039059,0.0004515669,0.0003289124,0.002446194,0.05067054,0.01168793,0.001493787,0.002129156,0.00447468],"category_scores_gemma":[0.005251924,0.0002261933,0.0002137819,0.003796506,0.03796535,0.00241315,0.003992149,0.003925138,0.0003394851],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.1172473,"about_ca_system_score_gemma":0.09711611,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9839225,"about_ca_topic_score_gemma":0.9935607,"domain_scores_codex":[0.9969946,0.0007195962,0.00004296681,0.000254978,0.0009464191,0.001041333],"domain_scores_gemma":[0.9981035,0.0005216544,0.00008178181,0.0001002786,0.0007614261,0.0004313914],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00005708809,0.00002001429,0.002780061,0.00008451616,0.00000935303,0.000833415,0.3901336,0.0003079806,0.0006556918,0.5199745,0.05220288,0.0329409],"study_design_scores_gemma":[0.00000802273,0.00001117521,0.006868821,0.0002075637,0.0000117138,0.0002541543,0.2070429,0.0002576846,0.0003679125,0.01602782,0.7688755,0.00006685994],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.180164,0.01061403,0.002602471,0.06234969,0.001561493,0.00007561882,0.0001394344,0.0001313097,0.7423619],"genre_scores_gemma":[0.9448174,0.002572973,0.000809835,0.003594579,0.0001095845,0.0000191512,0.00002742517,0.00007159679,0.04797748],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1172473,"threshold_uncertainty_score":0.8506924,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4405234145","doi":"10.18274/bild7270","title":"Serial Shakespeare: Intermedial Performance and the Outrageous Fortunes of Slings & Arrows","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art","authors":[{"name":"Laurie E. Osborne","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03174076049412626,"gpt":0.2236828353071199,"spread":0.1919420748129937,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001283139,0.0005235237,0.0001563965,0.0007904202,0.01039643,0.009007097,0.0006955648,0.001154988,0.01040355],"category_scores_gemma":[0.002650084,0.0002643898,0.0001242233,0.0008737419,0.01369216,0.003985223,0.003741592,0.002132743,0.0008232026],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004572466,"about_ca_system_score_gemma":0.003820202,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.06672862,"about_ca_topic_score_gemma":0.1117437,"domain_scores_codex":[0.9990145,0.0004060333,0.0000210924,0.0001117913,0.0002242879,0.0002223498],"domain_scores_gemma":[0.9991922,0.0002897101,0.00006793367,0.00006783566,0.0001458802,0.0002364718],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001010237,0.00003296329,0.001279182,0.0001682657,0.000007918391,0.0009891459,0.2195045,0.0002777391,0.0008928573,0.6523056,0.08463455,0.03980627],"study_design_scores_gemma":[0.00001307318,0.00003975426,0.002025489,0.0003266972,0.000007978699,0.0004223351,0.07386804,0.0001949327,0.0006481275,0.02342276,0.8990088,0.00002196113],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1084699,0.008236912,0.003746296,0.02217869,0.001424972,0.0000405371,0.0001061843,0.0001511911,0.8556454],"genre_scores_gemma":[0.8293493,0.002944506,0.0008049704,0.000673659,0.0003528349,0.00003089155,0.00003834573,0.0001257405,0.1656797],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.06672862,"threshold_uncertainty_score":0.1326804,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3161500661","doi":"10.18274/fbjy4717","title":"\"I Cannot Heave My Heart into My Mouth\"","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"University of Guelph","funders":"","keywords":"Cardiology; Medicine","authors":[{"name":"Judith Clare Thompson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03521516454179257,"gpt":0.2477052550893595,"spread":0.212490090547567,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001047109,0.0004230131,0.0002289083,0.000354413,0.01362666,0.005102495,0.000692253,0.001368381,0.005332236],"category_scores_gemma":[0.002242952,0.0001329333,0.0002123056,0.0003571505,0.01564295,0.002240977,0.003401546,0.004160321,0.00142416],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004102175,"about_ca_system_score_gemma":0.004519563,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1172325,"about_ca_topic_score_gemma":0.253701,"domain_scores_codex":[0.9986203,0.0005323762,0.00002375584,0.00009732494,0.000475592,0.0002506464],"domain_scores_gemma":[0.9993266,0.0001453343,0.00007979887,0.00004156542,0.0001870548,0.0002197073],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003712263,0.00002820093,0.003469442,0.0001349792,0.00001133855,0.0009484511,0.5701964,0.00006198063,0.001335198,0.1236548,0.2665786,0.03354355],"study_design_scores_gemma":[0.000003776766,0.00001967111,0.003874173,0.0001736185,0.000006304628,0.0004826114,0.2129764,0.00005014501,0.000491442,0.002291943,0.7796089,0.00002101849],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.1979203,0.01187876,0.003486479,0.1346779,0.005880795,0.00009598386,0.0001448041,0.0002720488,0.6456429],"genre_scores_gemma":[0.6739734,0.003608238,0.0006720026,0.0133566,0.0003622106,0.00004156064,0.00004805914,0.0001271694,0.3078108],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1172325,"threshold_uncertainty_score":0.2331002,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3111212760","doi":"10.18274/ncja8417","title":"A Theory of Adaptation, by Linda Hutcheon","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"South Asian Cinema and Culture","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McGill University","funders":"","keywords":"Adaptation (eye); Cognitive science; Computer science; Psychology; Neuroscience","authors":[{"name":"Leanore Lieblein","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03208933742626521,"gpt":0.2169457917639399,"spread":0.1848564543376747,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001966453,0.001172868,0.0007296942,0.002034294,0.002184171,0.003984998,0.001643805,0.002202988,0.007410628],"category_scores_gemma":[0.004051478,0.0007814841,0.000699041,0.003938378,0.008290065,0.01038598,0.002464822,0.003864397,0.00181759],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004899367,"about_ca_system_score_gemma":0.003948655,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02562275,"about_ca_topic_score_gemma":0.02230802,"domain_scores_codex":[0.9990413,0.0004499294,0.00005455531,0.0001991429,0.0001756218,0.0000794543],"domain_scores_gemma":[0.9989325,0.0007242079,0.0000831417,0.00006011824,0.000112661,0.00008739555],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00006458023,0.00007163447,0.001163345,0.0006855991,0.00005393981,0.0002395326,0.007429977,0.002655914,0.0001930574,0.6019965,0.2922209,0.09322507],"study_design_scores_gemma":[0.00001771874,0.0000175575,0.001346452,0.0008407609,0.00001890678,0.0001789765,0.00184815,0.0006679421,0.00009891942,0.5121645,0.4827723,0.00002786582],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"review","genre_gemma":"review","genre_scores_codex":[0.003782296,0.7494591,0.01983705,0.09115522,0.004462047,0.00006495088,0.0004126701,0.0001359843,0.1306907],"genre_scores_gemma":[0.2555935,0.5457175,0.02026078,0.02471526,0.00594065,0.0004298835,0.0005563956,0.0003224408,0.1464637],"genre_candidate":"review","genre_consensus":"review","teacher_disagreement_score":0.02562275,"threshold_uncertainty_score":0.05094725,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4415672043","doi":"10.18274/b2m74g30","title":"Shakespeare Is Strange: Queer/Adaptation, The Tempest, and Life Is Strange: Before the Storm","year":2025,"lang":"","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Medicine Hat College","funders":"","keywords":"Queer; Tempest; Resistance (ecology); Storm","authors":[{"name":"Mark Kaethler","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02596575896425382,"gpt":0.246255880944471,"spread":0.2202901219802172,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002993506,0.0003014165,0.0003228197,0.0009950456,0.01218954,0.009544887,0.000633592,0.001591207,0.003565777],"category_scores_gemma":[0.005945574,0.0001647733,0.0001716882,0.0008788673,0.04849915,0.005531321,0.005182315,0.003767758,0.0003646213],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004746434,"about_ca_system_score_gemma":0.001893149,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01507255,"about_ca_topic_score_gemma":0.02602038,"domain_scores_codex":[0.9968961,0.002327689,0.00004718389,0.0001411786,0.0003498461,0.0002379061],"domain_scores_gemma":[0.9973285,0.001740856,0.0002285155,0.0002386245,0.0001680093,0.0002954716],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002735603,0.00001676251,0.001018422,0.00003928758,0.000007321148,0.0003763989,0.6032759,0.00005827815,0.0002654277,0.3811464,0.005488051,0.00828041],"study_design_scores_gemma":[0.00001714478,0.00004850236,0.003929825,0.0004063036,0.00001795865,0.0008089353,0.5068077,0.0002360979,0.0008362824,0.08231412,0.4045328,0.00004438335],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.383835,0.008184941,0.006217491,0.02724647,0.0005516628,0.00004325467,0.00003430623,0.0001041286,0.5737827],"genre_scores_gemma":[0.9815084,0.0008677398,0.0002311705,0.000818615,0.00005657098,0.00001056113,0.00000664172,0.00003666551,0.01646372],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01507255,"threshold_uncertainty_score":0.03443795,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4400239097","doi":"10.18274/bl.v14i2.332","title":"“The Winter of Our Discontent”: An Interview with Playwright Terri Power","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Foucault, Power, and Ethics","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Stantec (Canada)","funders":"","keywords":"Queer; Transgender; Narrative; Power (physics); Gender studies; Masculinity; Lesbian; Sociology; Framing (construction); Subversion; Representation (politics); Psychoanalysis; Aesthetics; Psychology; Art; History; Literature; Political science; Law; Politics","authors":[{"name":"Alexa Alice Joubin","is_ca":false},{"name":"Terri Power","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05218458945261551,"gpt":0.3279763386774983,"spread":0.2757917492248828,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004806316,0.001096334,0.0009212085,0.00165491,0.03033568,0.008664113,0.002317373,0.006834511,0.005547015],"category_scores_gemma":[0.01070165,0.001038426,0.0003991718,0.001852769,0.02441287,0.00775638,0.005681662,0.01251595,0.001105591],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01040686,"about_ca_system_score_gemma":0.00649792,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.08686419,"about_ca_topic_score_gemma":0.09967493,"domain_scores_codex":[0.993274,0.00364559,0.0001468507,0.0006496111,0.001058173,0.001225763],"domain_scores_gemma":[0.9952112,0.002458956,0.0003329944,0.0001538851,0.0005962969,0.001246664],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00001427846,0.00001671447,0.0003172647,0.00002068315,0.000001500785,0.001282671,0.9796681,0.00001804047,0.0003649226,0.004810352,0.01100462,0.00248081],"study_design_scores_gemma":[0.000002593199,0.00002061803,0.0003368566,0.00009005852,0.000002058841,0.0006083848,0.9090504,0.00003504303,0.0001307498,0.0006431446,0.08906476,0.00001542577],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6386267,0.006518892,0.006010586,0.2007607,0.0023659,0.0003757174,0.000202688,0.0002013273,0.1449375],"genre_scores_gemma":[0.92229,0.002391014,0.001357357,0.01854935,0.0002998524,0.0003008607,0.00006696191,0.0002003985,0.05454434],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.08686419,"threshold_uncertainty_score":0.1727172,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3111428381","doi":"10.18274/diec9840","title":"Rohinton Mistry's Family Shakespeare","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"York University","funders":"","keywords":"Genealogy; History; Psychology","authors":[{"name":"Deanne Williams","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04439714451653107,"gpt":0.2344085601819825,"spread":0.1900114156654514,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001182723,0.0002889897,0.0002233857,0.0005781983,0.01492663,0.002501934,0.000414245,0.0007896139,0.003185363],"category_scores_gemma":[0.002438993,0.0001294914,0.00009491047,0.0004596692,0.007815024,0.001735683,0.001278222,0.002030103,0.0006417023],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00536039,"about_ca_system_score_gemma":0.005024577,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1971104,"about_ca_topic_score_gemma":0.3298261,"domain_scores_codex":[0.9992152,0.0002970993,0.00001192162,0.00009838644,0.0002151416,0.0001622446],"domain_scores_gemma":[0.9989516,0.0004064823,0.0000606268,0.00005585991,0.0003107117,0.0002148046],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00008998744,0.000023093,0.00198476,0.0001251053,0.00001084192,0.00214187,0.2290524,0.0001252644,0.000618534,0.1502365,0.55051,0.06508157],"study_design_scores_gemma":[0.000002537594,0.00001229278,0.001980271,0.000124104,0.000003583599,0.0008992857,0.03578522,0.00005251746,0.0002398913,0.003600396,0.9572834,0.00001640416],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.156742,0.09057316,0.00269643,0.2179959,0.01124255,0.00004592895,0.0001448364,0.0002221139,0.5203371],"genre_scores_gemma":[0.7675012,0.01294306,0.0005908791,0.0111301,0.0008225627,0.00001783545,0.00001833035,0.00009866456,0.2068774],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1971104,"threshold_uncertainty_score":0.3919262,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3159345471","doi":"10.18274/stwc5490","title":"Francisco and Bernardo do Hamlet","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McMaster University","funders":"","keywords":"HAMLET (protein complex); Art; Literature","authors":[{"name":"Helen Ostovich","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02911770194280286,"gpt":0.2280885938761681,"spread":0.1989708919333653,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006680447,0.0004546649,0.0002254067,0.0006797269,0.004464563,0.003454344,0.0003113538,0.001163265,0.01523734],"category_scores_gemma":[0.001737101,0.0001490339,0.0001186667,0.0003990167,0.003805935,0.001262464,0.001400053,0.001901893,0.003012324],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002532532,"about_ca_system_score_gemma":0.00119775,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0211081,"about_ca_topic_score_gemma":0.03903179,"domain_scores_codex":[0.9995982,0.0001380909,0.00000776087,0.0001110081,0.00009379273,0.00005123621],"domain_scores_gemma":[0.9995721,0.0001605222,0.00004762962,0.00004854513,0.00008729195,0.00008378301],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001409412,0.00004307782,0.002717348,0.0002401667,0.00001160154,0.000526346,0.03976445,0.0001264105,0.0008781295,0.3597751,0.5067306,0.0890459],"study_design_scores_gemma":[0.000003440118,0.000005157929,0.001002974,0.0001242357,0.000002298533,0.0001092053,0.003135167,0.00002658445,0.0001010433,0.00287915,0.992607,0.000003773755],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.02509435,0.04060158,0.001123202,0.06003404,0.007243541,0.0000291367,0.0001607078,0.0001220348,0.8655915],"genre_scores_gemma":[0.3850284,0.02007984,0.0008923107,0.008842144,0.002381556,0.0000451996,0.0001023769,0.0001910672,0.5824371],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.0211081,"threshold_uncertainty_score":0.05097395,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4395053930","doi":"10.18274/bl.v15i2.368","title":"Brevity is the Soul of Fic Microfiction, Microfic, and Shakespearean Abridgement in Online Fan Fiction","year":2024,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Digital Games and Media","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Soul; Art; Fandom; Literature; Theology; Philosophy","authors":[{"name":"Johnathan H. Pope","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02047140723335051,"gpt":0.2884081215850191,"spread":0.2679367143516685,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003813273,0.0003505014,0.0004213196,0.003803571,0.006710096,0.01142289,0.0006456434,0.001362315,0.006492174],"category_scores_gemma":[0.01827112,0.0002416623,0.0002182187,0.003232159,0.02200619,0.009265272,0.004647183,0.002271948,0.001054218],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002794379,"about_ca_system_score_gemma":0.001230747,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003019353,"about_ca_topic_score_gemma":0.004743567,"domain_scores_codex":[0.9955102,0.00245565,0.0001676579,0.0004337321,0.001019767,0.0004129238],"domain_scores_gemma":[0.9858453,0.009826444,0.001192456,0.001651736,0.001017292,0.0004667411],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","study_design_scores_codex":[0.0001057607,0.00002717497,0.005084869,0.0002677563,0.00001866719,0.0004905358,0.4394255,0.0001330835,0.0008036976,0.4769567,0.01036715,0.06631912],"study_design_scores_gemma":[0.00001350832,0.00008073504,0.01416175,0.00115609,0.00003009804,0.001787122,0.120277,0.0003799494,0.001567444,0.07081357,0.7896718,0.00006086847],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3827082,0.02069939,0.01872366,0.02095897,0.001352378,0.00007469347,0.0002820414,0.0002968118,0.5549039],"genre_scores_gemma":[0.9753985,0.001686606,0.001440111,0.0008829436,0.0006027751,0.0000315378,0.00008211062,0.0001762906,0.01969907],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01142289,"threshold_uncertainty_score":0.02171844,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3125483430","doi":"10.18274/hhup1453","title":"Sarah Bernhardt's Ophelia","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Cultural Studies and Interdisciplinary Research","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Acadia University","funders":"","keywords":"Psychoanalysis; Philosophy; Art; Psychology","authors":[{"name":"Alan R. Young","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06048700994043441,"gpt":0.2692435820576461,"spread":0.2087565721172117,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009049196,0.0002996558,0.0001993524,0.0006310756,0.00544111,0.002697654,0.0004071131,0.001482032,0.004330453],"category_scores_gemma":[0.002787993,0.0001183513,0.00008096833,0.0004871167,0.00693081,0.002030545,0.003105347,0.003510075,0.001009027],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002457257,"about_ca_system_score_gemma":0.002563763,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01370797,"about_ca_topic_score_gemma":0.01938989,"domain_scores_codex":[0.9990063,0.0003853108,0.00001947738,0.0001033638,0.000332585,0.0001529231],"domain_scores_gemma":[0.9993258,0.0003441765,0.00004418089,0.00003112154,0.0001298894,0.0001249273],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003649658,0.00002650828,0.0007438947,0.0001193959,0.000003644808,0.0005777914,0.05152977,0.0001355519,0.0005664636,0.5605012,0.3495194,0.03623984],"study_design_scores_gemma":[0.000001664316,0.00000622365,0.0004279659,0.0001611298,0.000001152034,0.000181469,0.006835476,0.00003461356,0.0002202541,0.0118734,0.9802515,0.000005204166],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.04253347,0.05199935,0.001150635,0.3297279,0.0079106,0.00001996217,0.00005701577,0.0000552998,0.5665458],"genre_scores_gemma":[0.5637102,0.0279765,0.0008309615,0.03717987,0.001963391,0.00004008232,0.00003093623,0.00006487175,0.3682032],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01370797,"threshold_uncertainty_score":0.02725637,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3161558640","doi":"10.18274/lgtd8297","title":"Waves and Wills: Van Thiessen's Shakespeare's Will","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"University of Guelph","funders":"","keywords":"History","authors":[{"name":"Ann Wilson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02740083277983049,"gpt":0.2289760061539153,"spread":0.2015751733740848,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001126952,0.0003668324,0.0002535293,0.0008292375,0.02048188,0.009720977,0.0007613237,0.001782879,0.008295846],"category_scores_gemma":[0.002769413,0.0002162465,0.0001527423,0.00129028,0.01890254,0.001827625,0.00265127,0.003034351,0.001044539],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.03759855,"about_ca_system_score_gemma":0.03402958,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.9035151,"about_ca_topic_score_gemma":0.9420592,"domain_scores_codex":[0.9985924,0.0003300108,0.00001750435,0.00009461409,0.0005404117,0.0004250228],"domain_scores_gemma":[0.9992655,0.0001898362,0.00002889285,0.00003541971,0.0002038108,0.0002764296],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00002763493,0.00001351448,0.0008192771,0.00004978026,0.000004979344,0.0004904887,0.1735797,0.0001504724,0.0002090713,0.584591,0.215284,0.0247802],"study_design_scores_gemma":[0.000003212756,0.000003593209,0.001026762,0.0001245908,0.000002547491,0.00009292099,0.04474307,0.00005239107,0.00008973238,0.007646257,0.9462033,0.00001150134],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.03148994,0.01690488,0.0009780247,0.04839817,0.00193424,0.00003065164,0.00008987934,0.00005876324,0.9001154],"genre_scores_gemma":[0.4876772,0.006750358,0.0003827898,0.004274216,0.0002006812,0.00001978464,0.00003846198,0.00008899475,0.5005674],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.9035151,"threshold_uncertainty_score":0.2727979,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4405205397","doi":"10.18274/gtcx6071","title":"Introduction","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Computer science","authors":[{"name":"Deanne Williams","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02984863552191112,"gpt":0.2252935717188987,"spread":0.1954449361969876,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00136857,0.0007517092,0.0005180829,0.001240914,0.002841408,0.006202944,0.002065131,0.003229559,0.4915241],"category_scores_gemma":[0.005881643,0.0002961073,0.0005456991,0.001321123,0.0009931504,0.00372448,0.003522816,0.002538827,0.3375767],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0022846,"about_ca_system_score_gemma":0.003065439,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003418349,"about_ca_topic_score_gemma":0.004086381,"domain_scores_codex":[0.9983391,0.0002245104,0.00008837642,0.0004354261,0.000690456,0.0002220321],"domain_scores_gemma":[0.9977224,0.0003326715,0.0001073588,0.0002545709,0.001126688,0.0004562091],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0000488132,0.00004551427,0.0006775691,0.0002408054,0.000003838049,0.0001547774,0.0009616437,0.00007891553,0.0003055956,0.04143041,0.8423443,0.1137077],"study_design_scores_gemma":[0.000002261775,0.0000100594,0.0002587471,0.00009234098,8.714249e-7,0.00006112645,0.0002320688,0.00001461932,0.00004524132,0.002633845,0.9966453,0.000003499045],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.002000791,0.004627351,0.004344424,0.02364291,0.01546433,0.000248916,0.004653878,0.001038542,0.9439788],"genre_scores_gemma":[0.01414006,0.003860968,0.003355198,0.009127165,0.003265808,0.0002638787,0.005019939,0.000474507,0.9604925],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.5084759,"threshold_uncertainty_score":0.7252792,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3157512379","doi":"10.18274/orrx2043","title":"Flipping the Coin on Colorblind Casting? Richard Rose on Directing The Merchant of Venice","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Historical Art and Culture Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Rose (mathematics); Casting; Art; Mathematics; Visual arts","authors":[{"name":"Robert Ormsby","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05924068519175778,"gpt":0.2484407558937328,"spread":0.189200070701975,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009435383,0.0003553939,0.0001809586,0.0003191087,0.01004974,0.003253088,0.0006316485,0.001682321,0.00835574],"category_scores_gemma":[0.001911489,0.0001966242,0.0001381219,0.0002862522,0.008164696,0.001554976,0.001070691,0.002172507,0.001092299],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.005643139,"about_ca_system_score_gemma":0.002152144,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.2290042,"about_ca_topic_score_gemma":0.4561168,"domain_scores_codex":[0.9989594,0.0005360096,0.000008594759,0.00007152501,0.0001237127,0.0003006776],"domain_scores_gemma":[0.999572,0.0001450584,0.00002656849,0.00002056977,0.00009488535,0.0001409408],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00007895011,0.00004677764,0.003147895,0.00009928018,0.000007331811,0.002764896,0.5866728,0.0001717477,0.002267385,0.1055111,0.2643802,0.03485155],"study_design_scores_gemma":[0.000005859376,0.00004434146,0.002867165,0.0002107596,0.000005917994,0.0005376563,0.4431511,0.00007595714,0.0007528031,0.001416378,0.5509042,0.00002796434],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2632284,0.005330249,0.002003904,0.08505566,0.002027164,0.00007857934,0.00006555114,0.0001447936,0.6420657],"genre_scores_gemma":[0.8271645,0.001299401,0.000628225,0.006251596,0.0001706045,0.00002302809,0.00001537387,0.0001165175,0.1643308],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.2290042,"threshold_uncertainty_score":0.4553425,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3140680800","doi":"10.18274/qnms1875","title":"Re-imagining Ethics, Rethinking Rights, and Canadian Adaptations of Shakespeare: Daniel David Moses's Brébeuf's Ghost and the Specters of the Human","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"McMaster University","funders":"","keywords":"Human rights; Environmental ethics; Philosophy; Sociology; Art; Art history; Law; Political science","authors":[{"name":"Don Moore","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05155376207190809,"gpt":0.2553631826607945,"spread":0.2038094205888864,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002760598,0.0005601429,0.0003537091,0.001674766,0.028992,0.01118109,0.001299565,0.0027324,0.00332971],"category_scores_gemma":[0.00481429,0.0002524126,0.0001710068,0.001735378,0.0650778,0.003748235,0.003631609,0.004763776,0.0002341841],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.08815987,"about_ca_system_score_gemma":0.06010547,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9615795,"about_ca_topic_score_gemma":0.979439,"domain_scores_codex":[0.9977615,0.0007915295,0.00003268329,0.0001723029,0.0006840045,0.0005579068],"domain_scores_gemma":[0.9978332,0.0009007516,0.0001020603,0.0001208899,0.0006900327,0.0003531207],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00003220221,0.00001425515,0.0009235097,0.00005180005,0.000006509937,0.0003385769,0.4531287,0.0001937008,0.0004547777,0.4885001,0.04301827,0.01333754],"study_design_scores_gemma":[0.00001146688,0.0000122417,0.003214269,0.0003018979,0.0000160318,0.0002249491,0.3290356,0.0002315007,0.0007156563,0.03405084,0.6321102,0.00007530399],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2307052,0.02522037,0.002994666,0.1819306,0.001631816,0.00004623677,0.0001636749,0.0001190597,0.5571883],"genre_scores_gemma":[0.9532297,0.003531111,0.0005128165,0.004309318,0.00009504535,0.00001137747,0.00001796495,0.00006394568,0.03822878],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.08815987,"threshold_uncertainty_score":0.6396476,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3158861236","doi":"10.18274/qido8128","title":"\"To Skip or Not to Skip\": Shakespearean Romanticism and Curricular Genderpellation in Canadian Popular Culture","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"Western University","funders":"","keywords":"Romanticism; Popular culture; Harry potter; Art; Literature","authors":[{"name":"Mark A. McCutcheon","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03837332611894305,"gpt":0.2680642489087869,"spread":0.2296909227898438,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002576473,0.0003979757,0.0003666537,0.002125971,0.03538248,0.01256229,0.001334311,0.001468058,0.003434213],"category_scores_gemma":[0.005971317,0.0002611923,0.0001753937,0.003213726,0.05271728,0.002378518,0.004089713,0.003261508,0.0002048898],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.08327182,"about_ca_system_score_gemma":0.05556888,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9637328,"about_ca_topic_score_gemma":0.9800935,"domain_scores_codex":[0.9969326,0.0006607627,0.00003464971,0.0002251315,0.001107484,0.001039234],"domain_scores_gemma":[0.9977496,0.0007191861,0.0001993563,0.0001340377,0.0007229852,0.000474733],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0000436292,0.00001799885,0.005416734,0.00004111769,0.000007737738,0.0003334453,0.6840756,0.0001244848,0.0004468317,0.2866642,0.007794571,0.01503366],"study_design_scores_gemma":[0.0000156845,0.00001995229,0.02986952,0.0002509131,0.00002576267,0.0002618277,0.6912331,0.0003123552,0.0007335733,0.01730683,0.2598834,0.00008711078],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5513874,0.003449026,0.0007615373,0.01603841,0.0002145182,0.00002058243,0.00007058796,0.00004970487,0.4280082],"genre_scores_gemma":[0.9915074,0.0003844355,0.00006933304,0.0003592935,0.00001227298,0.000003008395,0.000006779432,0.00001729789,0.007640096],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.08327182,"threshold_uncertainty_score":0.6041822,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4405205395","doi":"10.18274/hrla2420","title":"Dedication","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Chemistry","authors":[{"name":"Deanne Williams","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04033753466655802,"gpt":0.2343568667623158,"spread":0.1940193320957578,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.004626562,0.0008505458,0.001039039,0.001775508,0.003030283,0.009368171,0.002623631,0.002551113,0.376863],"category_scores_gemma":[0.04220565,0.0003742124,0.0005004238,0.001214473,0.001112778,0.004748358,0.005917405,0.005925719,0.273367],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002129295,"about_ca_system_score_gemma":0.005880598,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002039928,"about_ca_topic_score_gemma":0.001730818,"domain_scores_codex":[0.9953744,0.001067882,0.0002680366,0.0005173153,0.002281731,0.0004906745],"domain_scores_gemma":[0.960959,0.004764406,0.001898782,0.002402412,0.01998071,0.00999466],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00001108265,0.000008619084,0.0000868842,0.00008885346,0.000001821134,0.00002469775,0.0001707563,0.00001530316,0.00007626876,0.001904239,0.9802999,0.01731166],"study_design_scores_gemma":[0.00000279104,0.000005948066,0.0001616782,0.0001866829,0.000001663065,0.0000642227,0.0002687531,0.00002146224,0.00003325554,0.0009940866,0.998255,0.000004488967],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.00158322,0.007459718,0.003953648,0.2764823,0.3377811,0.0007368618,0.009153736,0.002440958,0.3604084],"genre_scores_gemma":[0.009276532,0.005913953,0.002449099,0.07279121,0.08298574,0.0008948403,0.006641052,0.001599735,0.8174478],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.623137,"threshold_uncertainty_score":0,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4404688203","doi":"10.18274/edss9779","title":"From Cultural Tourists to Shakespeare Fans: The Stratford Festival and the Construction of Audience Authors","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Advertising; Art; Visual arts; Tourism; Media studies; History; Sociology; Archaeology; Business","authors":[{"name":"M. G. Aune","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03376491061190194,"gpt":0.2521351137845501,"spread":0.2183702031726482,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005084049,0.0008175249,0.0004109611,0.003303008,0.02495135,0.01556088,0.001203648,0.001926199,0.00782545],"category_scores_gemma":[0.007844072,0.0005100362,0.000226856,0.001774289,0.03530263,0.005088277,0.01024711,0.003120734,0.0005723338],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0107741,"about_ca_system_score_gemma":0.003660123,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.03632491,"about_ca_topic_score_gemma":0.0855519,"domain_scores_codex":[0.9955804,0.002829328,0.00006252062,0.0003451495,0.0005062376,0.0006763717],"domain_scores_gemma":[0.9956763,0.002031916,0.000276631,0.0002406382,0.0005953667,0.001179052],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00003948446,0.00001670449,0.002165487,0.00005042132,0.00000515889,0.0005598593,0.9445691,0.00002266459,0.0003255894,0.03666862,0.007590932,0.007985877],"study_design_scores_gemma":[0.000009632235,0.00003615881,0.004225979,0.000256187,0.00001060332,0.0003492359,0.7976915,0.00007668046,0.0002977494,0.004794822,0.1922267,0.00002479588],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6165089,0.004507424,0.00340278,0.01172734,0.001293413,0.00009874216,0.00006970247,0.0001961502,0.3621956],"genre_scores_gemma":[0.9734935,0.0005404017,0.0004336826,0.000494316,0.0001636142,0.00003413902,0.00001986198,0.00009281213,0.02472775],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.03632491,"threshold_uncertainty_score":0.07817197,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3158438440","doi":"10.18274/hmai5306","title":"Hermione Sessions: Dancing, The Winter's Tale, and the Kinaesthetic Imagination","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Digital Games and Media","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Northern British Columbia","funders":"","keywords":"Psychology; Psychoanalysis; Art","authors":[{"name":"Lisa Dickson","is_ca":true},{"name":"Andrew Downie","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01537731884195851,"gpt":0.2800668104614671,"spread":0.2646894916195086,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001247486,0.0006613954,0.0003218563,0.0008635148,0.007483963,0.007952445,0.000806371,0.001635945,0.006958328],"category_scores_gemma":[0.002431087,0.0002133401,0.0002403494,0.0006853052,0.01179748,0.003747501,0.004986997,0.002291107,0.0007754759],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002325272,"about_ca_system_score_gemma":0.00148531,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005685861,"about_ca_topic_score_gemma":0.01369207,"domain_scores_codex":[0.9986535,0.0007803796,0.00002374499,0.0001462939,0.0002035045,0.0001926657],"domain_scores_gemma":[0.9992244,0.0004139032,0.00005721183,0.00005239784,0.00004200851,0.0002101031],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00008877856,0.00006472893,0.001056667,0.0001744323,0.00001313675,0.0006048891,0.6756328,0.0001710675,0.001238265,0.257332,0.03658434,0.02703889],"study_design_scores_gemma":[0.00001561314,0.00007689578,0.001827611,0.0006384769,0.00001081668,0.0004878077,0.2220875,0.0001470274,0.0007957795,0.02338728,0.7504978,0.00002738312],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.203092,0.01135579,0.004718665,0.02180818,0.002518991,0.00006750903,0.000112319,0.0001888339,0.7561376],"genre_scores_gemma":[0.8609406,0.002492372,0.0009311511,0.001724454,0.0005337802,0.0000702915,0.00004537296,0.0001019798,0.13316],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.007952445,"threshold_uncertainty_score":0.02327794,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3158554597","doi":"10.18274/njsk3764","title":"\"Thou Art Translated\": Peter Sellars's Midsummer Chamber Play","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Folklore, Mythology, and Literature Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Thou; Art; Art history; Philosophy; Theology","authors":[{"name":"Carol Mejia LaPerle","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02909258554419426,"gpt":0.2436923059146648,"spread":0.2145997203704706,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004852633,0.0005268204,0.0002152279,0.0004681752,0.009021588,0.00477198,0.0005238383,0.0009005698,0.02195983],"category_scores_gemma":[0.001165856,0.0001864278,0.0001522534,0.0003981801,0.003827244,0.00178006,0.002660078,0.003328489,0.003506368],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002608284,"about_ca_system_score_gemma":0.001691598,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.04636778,"about_ca_topic_score_gemma":0.125235,"domain_scores_codex":[0.9995689,0.0001420795,0.000007825755,0.0000623003,0.0001164404,0.0001024585],"domain_scores_gemma":[0.9996939,0.00009551469,0.00001442826,0.00001614173,0.00006737437,0.0001127396],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00007299952,0.00003534189,0.0004899341,0.0001245832,0.000005071817,0.0006898309,0.06760311,0.00005380532,0.0006746277,0.06663167,0.8395883,0.02403079],"study_design_scores_gemma":[0.000002974084,0.00001769021,0.0009172323,0.0001109118,0.000002594601,0.0002714196,0.02822514,0.00003569678,0.0002860691,0.0009001985,0.9692221,0.000007885375],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.04301583,0.01642603,0.001575426,0.1026788,0.02183321,0.00008282207,0.0004070922,0.000272004,0.8137087],"genre_scores_gemma":[0.2787997,0.007339476,0.0008568994,0.01088928,0.003234779,0.00007439885,0.0001829416,0.000368068,0.6982544],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.04636778,"threshold_uncertainty_score":0.09219575,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4400238379","doi":"10.18274/bl.v14i2.351","title":"The Tempest as Trans Archive: An Interview with Scholar Mary Ann S. Saunders","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of British Columbia","funders":"","keywords":"Tempest; Interpretation (philosophy); Alice (programming language); Art history; Reading (process); Art; Literature; Philosophy; Linguistics","authors":[{"name":"Alexa Alice Joubin","is_ca":false},{"name":"Mary Ann S. Saunders","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03799108253314684,"gpt":0.2482327313765181,"spread":0.2102416488433712,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003275093,0.0005262814,0.0006830156,0.00159333,0.02575593,0.00831358,0.001231245,0.00517416,0.004002267],"category_scores_gemma":[0.006783902,0.0006632095,0.0002653241,0.001446747,0.01182921,0.00664044,0.004856063,0.01386398,0.0007117015],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003828977,"about_ca_system_score_gemma":0.003550658,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.02033436,"about_ca_topic_score_gemma":0.0430494,"domain_scores_codex":[0.9973783,0.001662436,0.00006804389,0.000187532,0.0004071168,0.0002966471],"domain_scores_gemma":[0.9960527,0.002233644,0.0002884924,0.0001034651,0.0004219994,0.0008996333],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0000082674,0.00002818922,0.0005887765,0.00003686275,0.000001901081,0.001499994,0.9710183,0.00001731462,0.0003676624,0.006243201,0.01623547,0.003954206],"study_design_scores_gemma":[0.000001817086,0.00002531083,0.000484276,0.0001720516,0.000003399391,0.0009519496,0.8869205,0.00003058722,0.0001438346,0.0006499677,0.1106036,0.00001266037],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"other","genre_scores_codex":[0.6634743,0.009991379,0.0013541,0.1882535,0.0023039,0.0001267092,0.00007437095,0.0000874579,0.1343343],"genre_scores_gemma":[0.9153875,0.006564045,0.0006702685,0.020967,0.0005961446,0.000124097,0.00002867504,0.000102101,0.05556022],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.02575593,"threshold_uncertainty_score":0.04043204,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4405428883","doi":"10.18274/mvqj3559","title":"Giving Shakespeare Meaning, Canadian Style","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"University of Guelph","funders":"","keywords":"Style (visual arts); Meaning (existential); Linguistics; Art; Literature; Philosophy; Epistemology","authors":[{"name":"Daniel Fischlin","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03577935988830044,"gpt":0.2248564166948997,"spread":0.1890770568065992,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002532754,0.0007293581,0.0005810775,0.003168662,0.02978232,0.01390708,0.001184282,0.002295677,0.008979796],"category_scores_gemma":[0.007026057,0.0002706853,0.0002547879,0.005010469,0.02900984,0.004224052,0.003456239,0.004868993,0.001164959],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.06467117,"about_ca_system_score_gemma":0.06931606,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9651111,"about_ca_topic_score_gemma":0.9870549,"domain_scores_codex":[0.9961444,0.000585534,0.00007144702,0.0003172153,0.002067914,0.0008133844],"domain_scores_gemma":[0.9968184,0.0006074498,0.0001159437,0.0001145719,0.001844805,0.000498761],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00004468153,0.000007822772,0.001227919,0.000162386,0.00001538072,0.000172986,0.07577188,0.000117874,0.0002142434,0.5674667,0.3203412,0.03445692],"study_design_scores_gemma":[0.000005638178,0.000004362951,0.00263998,0.0002671771,0.00001033659,0.00009773729,0.02303059,0.00005164717,0.0001272665,0.02056937,0.9531567,0.00003926962],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.01544539,0.05701325,0.002408265,0.1494699,0.01190188,0.00004020714,0.0004810508,0.0001558391,0.7630842],"genre_scores_gemma":[0.6525791,0.04266587,0.00280534,0.02598605,0.003132305,0.00005812838,0.0003065694,0.0005214915,0.2719451],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.06467117,"threshold_uncertainty_score":0.4692243,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2733141885","doi":"10.18274/fnla2194","title":"Haunting Emotions: Visualizing Hamlet's Melancholy for Students in Two Recent Graphic Novel Adaptations","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Comics and Graphic Narratives","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"HAMLET (protein complex); Psychology; Art; Visual arts; Cognitive psychology; Computer graphics (images); Computer science; Literature","authors":[{"name":"Marina Gerzić","is_ca":false},{"name":"Helen Balfour","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.077032811144916,"gpt":0.3439025907210866,"spread":0.2668697795761706,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008408333,0.0007931828,0.0004056741,0.001358236,0.006036837,0.005951811,0.001135289,0.002089363,0.007016718],"category_scores_gemma":[0.002465117,0.0003437508,0.0003514897,0.0008746698,0.005718997,0.003027101,0.003856548,0.003198644,0.0008603394],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003558821,"about_ca_system_score_gemma":0.0008160351,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01061567,"about_ca_topic_score_gemma":0.04413954,"domain_scores_codex":[0.9992121,0.0004589511,0.00001539679,0.00007927971,0.0001061424,0.0001281358],"domain_scores_gemma":[0.9991298,0.0004995458,0.00008546057,0.00004885481,0.00006909254,0.0001672007],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001382216,0.0001063747,0.002639007,0.000192995,0.00001551832,0.002756458,0.9600803,0.0001956461,0.002639367,0.008014158,0.01199632,0.01122554],"study_design_scores_gemma":[0.00002403126,0.0001316915,0.01018125,0.0003171503,0.00002688756,0.00181257,0.7456365,0.0006907824,0.001989467,0.002793608,0.2363205,0.00007546179],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9033191,0.001476443,0.002552871,0.006650504,0.0004247831,0.00009060979,0.0003716532,0.0003284235,0.08478552],"genre_scores_gemma":[0.9753789,0.0009243798,0.00255623,0.0007521063,0.00009226381,0.00007902338,0.0001655903,0.0002315483,0.01981984],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.01061567,"threshold_uncertainty_score":0.02582115,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4405205431","doi":"10.18274/fyut9489","title":"Prospero's Girls","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Early Modern Spanish Literature","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Psychology","authors":[{"name":"Deanne Williams","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02546968433693751,"gpt":0.2135430837658665,"spread":0.188073399428929,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006029291,0.0002730372,0.0002631982,0.0004168113,0.007636368,0.001992226,0.0004210652,0.0005580824,0.01170003],"category_scores_gemma":[0.0008186712,0.0001089586,0.0001406506,0.0003085774,0.003001903,0.001122556,0.003589575,0.002135579,0.001076928],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002132024,"about_ca_system_score_gemma":0.001963554,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01320971,"about_ca_topic_score_gemma":0.04276771,"domain_scores_codex":[0.9995666,0.00009279314,0.00000711316,0.00007669718,0.0001145438,0.0001422486],"domain_scores_gemma":[0.9997923,0.00004106137,0.00002591126,0.00001257305,0.00002836309,0.00009984276],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001667174,0.00009405924,0.00701975,0.0002542617,0.00001281955,0.002907082,0.3567814,0.00005973343,0.001853932,0.4801709,0.05981308,0.09086623],"study_design_scores_gemma":[0.000007908225,0.00003528596,0.006215492,0.0001411215,0.000003622742,0.0005217086,0.03646953,0.00001423664,0.0003119142,0.003037801,0.9532336,0.000007897741],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1725471,0.005293475,0.0003420993,0.006657246,0.000410623,0.00004467494,0.0001501618,0.00003827724,0.8145164],"genre_scores_gemma":[0.6889157,0.002960468,0.0003754557,0.001490244,0.0001718838,0.00005325889,0.00009267314,0.00005192947,0.3058884],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01320971,"threshold_uncertainty_score":0.03914052,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3157024999","doi":"10.18274/wcsi6531","title":"Five Kings: Adapting Welles Adapting Shakespeare in Québec","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"McGill University","funders":"","keywords":"History","authors":[{"name":"Jennifer Drouin","is_ca":true},{"name":"Fiona Ritchie","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03439884731635427,"gpt":0.2339619084440829,"spread":0.1995630611277286,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001350721,0.0002559164,0.0002378066,0.0008860294,0.02246539,0.005529251,0.0009473441,0.001369136,0.01525028],"category_scores_gemma":[0.002049061,0.0002078086,0.0001765287,0.00127349,0.00779242,0.001574651,0.002152414,0.002053198,0.0007039265],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.05735373,"about_ca_system_score_gemma":0.02688808,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9737329,"about_ca_topic_score_gemma":0.9936867,"domain_scores_codex":[0.9988375,0.0002969372,0.00002081374,0.0001351002,0.0002994214,0.0004101545],"domain_scores_gemma":[0.9987802,0.0001835999,0.00005054152,0.00008171302,0.0004774519,0.0004265584],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001696213,0.0001113877,0.01612793,0.0001519882,0.00002581358,0.003336883,0.532325,0.000852289,0.002778762,0.1648705,0.1657934,0.1134562],"study_design_scores_gemma":[0.000006861405,0.00002175067,0.02089455,0.0001360794,0.000008522697,0.0002445084,0.1264926,0.0002748618,0.0004448076,0.001699089,0.8497261,0.00005035842],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5182397,0.006212264,0.002144089,0.0301161,0.001369034,0.000118787,0.0003763116,0.0002102294,0.4412134],"genre_scores_gemma":[0.7368991,0.001018057,0.0006109527,0.001734419,0.00004117709,0.00001828091,0.00007114771,0.0001017913,0.259505],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.05735373,"threshold_uncertainty_score":0.4161325,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4404742549","doi":"10.18274/zarb5225","title":"Staging Shakespeare in Social Games: Towards a Theory of Theatrical Game Design Authors","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Digital Games and Media","field":"Social Sciences","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"University of Waterloo","funders":"","keywords":"Game design; Video game design; Game theory; Game mechanics; Sociology; Psychology; Computer science; Aesthetics; Art; Multimedia; Mathematical economics; Mathematics","authors":[{"name":"Jennifer Roberts-Smith","is_ca":true},{"name":"Shawn DeSouza-Coelho","is_ca":true},{"name":"Toby Malone","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.07142696020190449,"gpt":0.3230918465434368,"spread":0.2516648863415323,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00628252,0.0008157157,0.0004053813,0.001735273,0.003199928,0.009326608,0.001789454,0.001619745,0.003359994],"category_scores_gemma":[0.01008695,0.0004801473,0.0004630152,0.0009258994,0.0296622,0.005723312,0.003113756,0.002538157,0.0004760267],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00399276,"about_ca_system_score_gemma":0.003115472,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00407176,"about_ca_topic_score_gemma":0.003813543,"domain_scores_codex":[0.9938172,0.005189577,0.0001147863,0.000249282,0.0004297039,0.0001994377],"domain_scores_gemma":[0.9936461,0.005089675,0.0002401054,0.0003179867,0.0004090447,0.0002970428],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00002797268,0.0001185362,0.001768523,0.0002132862,0.00001603601,0.00009995244,0.07928799,0.001619578,0.0003582471,0.8941141,0.002143812,0.020232],"study_design_scores_gemma":[0.0001085241,0.0002858498,0.002625935,0.0008414342,0.00003681846,0.0002775093,0.1291441,0.02155021,0.00169331,0.6873474,0.1560285,0.00006035449],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","genre_codex":"methods","genre_gemma":"empirical","genre_scores_codex":[0.2377875,0.004066864,0.3640113,0.0291365,0.0006794626,0.0007437819,0.00008801989,0.0002928012,0.3631937],"genre_scores_gemma":[0.9210881,0.0014939,0.06344754,0.0008670543,0.00005735513,0.0006859546,0.00002881783,0.00007201805,0.01225927],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.009326608,"threshold_uncertainty_score":0.03322554,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3133541207","doi":"","title":"King Lear and Incest, 1969-2016: In Media Res","year":2020,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Taboo; Telos; Ideology; Politics; Art; Literature; Television series; Sociology; History; Psychoanalysis; Media studies; Psychology; Law; Philosophy; Political science","authors":[{"name":"Carol Thomas Neely","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05178074327429154,"gpt":0.2204341645433382,"spread":0.1686534212690467,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00327898,0.000418464,0.0002455785,0.001205307,0.01738782,0.01035517,0.0007596466,0.002089448,0.006222678],"category_scores_gemma":[0.007832369,0.0003770692,0.0002437554,0.001469456,0.03251022,0.006401206,0.005499619,0.004634365,0.001546925],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.01522033,"about_ca_system_score_gemma":0.007473252,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1034003,"about_ca_topic_score_gemma":0.2388781,"domain_scores_codex":[0.9968231,0.001271703,0.0001117741,0.0003048074,0.0009281461,0.0005603614],"domain_scores_gemma":[0.9966983,0.001757353,0.0002305984,0.0003902529,0.0004141842,0.0005092362],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00005690359,0.00001484701,0.001299921,0.00009383847,0.000004358023,0.0005114807,0.8102185,0.0000258634,0.0004527036,0.119692,0.04774185,0.01988776],"study_design_scores_gemma":[0.000003459564,0.00001090772,0.002403106,0.000153331,0.000003421783,0.0002013031,0.201173,0.000009470868,0.0004168667,0.002522547,0.7930861,0.00001651287],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.2300753,0.01278444,0.001698844,0.04544988,0.002822837,0.00005468183,0.0003530156,0.0001942296,0.7065668],"genre_scores_gemma":[0.8565995,0.003466819,0.0004467185,0.002962652,0.0003876275,0.00003538922,0.000116118,0.0002227408,0.1357625],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.1034003,"threshold_uncertainty_score":0.2055968,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3162894956","doi":"","title":"Giving Shakespeare Meaning, Canadian Style: Canadian(?) Shakespeares","year":2007,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"University of Guelph","funders":"","keywords":"Meaning (existential); Style (visual arts); Identity (music); Sociology; Aesthetics; Linguistics; History; Literature; Art; Epistemology; Philosophy","authors":[{"name":"Daniel Fischlin","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02381429908434105,"gpt":0.2185082032607064,"spread":0.1946939041763654,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002105493,0.0006188137,0.0004408401,0.002247306,0.03331096,0.01240982,0.0009257949,0.002242319,0.0064191],"category_scores_gemma":[0.005841414,0.0002658521,0.0002052759,0.005427754,0.02554533,0.0034566,0.002664046,0.004138493,0.0005916167],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.07354258,"about_ca_system_score_gemma":0.06393442,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9861889,"about_ca_topic_score_gemma":0.9946754,"domain_scores_codex":[0.9975494,0.0003475817,0.00003926666,0.0002055302,0.001192099,0.0006661204],"domain_scores_gemma":[0.9974548,0.00049518,0.00009303508,0.00008221381,0.001435562,0.0004392418],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00006882795,0.00001289111,0.002842727,0.0001750952,0.00002016339,0.0003184395,0.2597336,0.0001542171,0.0004638102,0.4323763,0.2528198,0.05101413],"study_design_scores_gemma":[0.000008813903,0.000006386649,0.008088807,0.0003434527,0.00001854664,0.0001618384,0.09417771,0.00007992159,0.000286127,0.01306644,0.8836962,0.00006578944],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.07508917,0.05643341,0.001859551,0.1609741,0.006428945,0.00004488017,0.0004246684,0.0001251082,0.6986202],"genre_scores_gemma":[0.8512663,0.01985206,0.001076125,0.01041918,0.0007443433,0.00002434352,0.0001079972,0.0001996581,0.1163099],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.07354258,"threshold_uncertainty_score":0.5335913,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3159887495","doi":"","title":"Rachel and Juliet","year":2009,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McMaster University","funders":"","keywords":"Tribute; Art; Performance art; Art history; Sociology","authors":[{"name":"Sarah Johnson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0223175390920392,"gpt":0.2178153441960309,"spread":0.1954978051039917,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001224522,0.0004501682,0.0002697784,0.0009753225,0.009329062,0.006203885,0.0005676749,0.001391481,0.0111136],"category_scores_gemma":[0.004038944,0.0002119696,0.0001323551,0.0007430919,0.01007212,0.002542511,0.004530536,0.00332881,0.00197213],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003256605,"about_ca_system_score_gemma":0.001829478,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.007274325,"about_ca_topic_score_gemma":0.01614268,"domain_scores_codex":[0.9986212,0.0005976817,0.0000303768,0.0001767417,0.0003640533,0.0002100007],"domain_scores_gemma":[0.9988766,0.0005200679,0.00009527955,0.0001111061,0.0001813713,0.0002155946],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00009891693,0.00004085729,0.001117935,0.0001682947,0.00001052846,0.001298855,0.3855748,0.00009121071,0.001171424,0.4792096,0.09290898,0.03830864],"study_design_scores_gemma":[0.000004355903,0.00001941445,0.0008119731,0.0002466894,0.000005030136,0.0004957782,0.05527818,0.00006044553,0.0004448586,0.007768685,0.9348518,0.00001279295],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.08487354,0.008181107,0.0006863567,0.03299843,0.001465159,0.00002619972,0.00002668771,0.00006827879,0.8716742],"genre_scores_gemma":[0.6128475,0.003758125,0.0003930714,0.004725267,0.000471853,0.00003455868,0.00002212557,0.000166118,0.3775814],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.0111136,"threshold_uncertainty_score":0.03717875,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3159171516","doi":"","title":"Prospero's Girls","year":2014,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Girl; Dream; Power (physics); Literature; Art; History; Psychology","authors":[{"name":"Deanne Williams","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01883858910218825,"gpt":0.2008934268869517,"spread":0.1820548377847635,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006953895,0.0002920612,0.0002982461,0.0004506793,0.009603559,0.00220631,0.0004699584,0.0006052993,0.01141777],"category_scores_gemma":[0.001090868,0.0001213877,0.0001446135,0.0003738617,0.003635973,0.001156167,0.003941801,0.002413361,0.001092636],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001895834,"about_ca_system_score_gemma":0.001580038,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01059258,"about_ca_topic_score_gemma":0.03762523,"domain_scores_codex":[0.9995025,0.0001247749,0.000009168192,0.00008600158,0.0001420772,0.0001354474],"domain_scores_gemma":[0.9997724,0.00005216951,0.00002814568,0.00001908523,0.00002932225,0.00009892135],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001471125,0.00008838985,0.00579927,0.0002559153,0.00001257975,0.002966644,0.4599165,0.00006070005,0.002257348,0.3898752,0.05315399,0.08546636],"study_design_scores_gemma":[0.000006774956,0.00004340872,0.008040686,0.0001895861,0.000004424224,0.0007747322,0.0510964,0.00001869113,0.0004595384,0.003442804,0.9359125,0.00001051451],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1861504,0.004432846,0.0003701907,0.006184085,0.000494841,0.00004766967,0.000115258,0.00004284798,0.8021618],"genre_scores_gemma":[0.6999117,0.002541858,0.000388546,0.001476827,0.0001574198,0.00005458751,0.00006955571,0.00006114456,0.2953383],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01141777,"threshold_uncertainty_score":0.03819627,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3161971829","doi":"","title":"From Cultural Tourists to Shakespeare Fans: The Stratford Festival and the Construction of Audience","year":2019,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Fandom; Media studies; Music festival; Appeal; Subject (documents); Advertising; Tourism; Musical; Sociology; Visual arts; Art; History; Political science; Business","authors":[{"name":"M. G. Aune","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01642788255171482,"gpt":0.2207440537455684,"spread":0.2043161711938536,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004035518,0.0008131585,0.000427759,0.002972324,0.02386532,0.01467938,0.001171333,0.001978374,0.007580003],"category_scores_gemma":[0.005359429,0.0004773417,0.0002263912,0.001526601,0.04128761,0.005124808,0.01012847,0.003207068,0.000463801],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.009364154,"about_ca_system_score_gemma":0.00328002,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.05336082,"about_ca_topic_score_gemma":0.1093738,"domain_scores_codex":[0.9963081,0.002342414,0.00004102831,0.0002695706,0.0004035601,0.0006353743],"domain_scores_gemma":[0.9975172,0.00108919,0.0001684676,0.0001290265,0.0003331907,0.0007628324],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00004117619,0.00001763955,0.002468183,0.0000531774,0.00000625641,0.000576009,0.9354821,0.00002773681,0.0003227451,0.0459084,0.00667756,0.008419078],"study_design_scores_gemma":[0.0000106693,0.00003660381,0.006381164,0.0002782713,0.00001024127,0.0003178122,0.841714,0.00008134669,0.0002233313,0.006176332,0.1447441,0.00002604694],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5902789,0.005293814,0.003332735,0.01269534,0.000827446,0.00008600102,0.00006028781,0.0001577028,0.3872678],"genre_scores_gemma":[0.9807222,0.0005582819,0.0003477988,0.0004647287,0.0001206247,0.00002814973,0.00001554195,0.00006712525,0.01767544],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9466392,"threshold_uncertainty_score":0.1061004,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3159208110","doi":"10.18274/havk1043","title":"Nationalizing Shakespeare in Québec: Theorizing Post-/Neo-/Colonial Adaptation","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Historical Art and Culture Studies","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Colonialism; Adaptation (eye); Sociology; History; Art; Psychology; Archaeology","authors":[{"name":"Jennifer Drouin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03175747778366959,"gpt":0.2254006001801657,"spread":0.1936431223964961,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001553257,0.0004224261,0.0003033841,0.001670193,0.02107582,0.006915784,0.002131982,0.001780925,0.004198445],"category_scores_gemma":[0.002705291,0.0002204333,0.0002783485,0.002479279,0.02254882,0.003092951,0.002684724,0.002140186,0.0001928892],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.1063209,"about_ca_system_score_gemma":0.0319338,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.9782621,"about_ca_topic_score_gemma":0.9854953,"domain_scores_codex":[0.9987407,0.0005921234,0.00001960775,0.0001192294,0.0001399629,0.0003882388],"domain_scores_gemma":[0.9983951,0.0004838298,0.0001316233,0.00009062012,0.0006368259,0.0002619288],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00004299591,0.00005466721,0.01362094,0.00008881958,0.00002516523,0.001766273,0.5438622,0.001192708,0.0005116237,0.4146675,0.006013776,0.01815328],"study_design_scores_gemma":[0.00001896995,0.00003796568,0.04100507,0.0005938418,0.00006862762,0.0005389719,0.5537943,0.002861444,0.0004290932,0.04595065,0.3546124,0.00008870011],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4400014,0.005771611,0.003998905,0.01882599,0.00019069,0.00007125618,0.0001408218,0.00004918676,0.53095],"genre_scores_gemma":[0.9877334,0.0009249143,0.0003760077,0.0005392228,0.00001133616,0.00001535616,0.00002495704,0.00001782409,0.01035717],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1063209,"threshold_uncertainty_score":0.7714155,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4400239392","doi":"10.18274/bl.v14i2.331","title":"Identities in Drag: An Interview with King Sammy Silver on August 20, 2020","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"Stantec (Canada)","funders":"","keywords":"Masculinity; Nothing; Drag; Power (physics); Viola; Art; Sociology; Art history; Psychoanalysis; Psychology; Gender studies; Philosophy; Engineering","authors":[{"name":"Alexa Alice Joubin","is_ca":false},{"name":"Terri Power","is_ca":true},{"name":"King Sammy Silver","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04762135271839852,"gpt":0.2511432406859708,"spread":0.2035218879675723,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002377647,0.0005741343,0.000745367,0.001441425,0.02654008,0.005186718,0.0009241363,0.005016409,0.006718622],"category_scores_gemma":[0.004519239,0.0008253618,0.0003361252,0.001221402,0.009073626,0.005078919,0.007183217,0.008965257,0.002185911],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.008223278,"about_ca_system_score_gemma":0.003781624,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.06161688,"about_ca_topic_score_gemma":0.1592198,"domain_scores_codex":[0.9973531,0.001054843,0.00008206137,0.0002102944,0.0004853426,0.000814468],"domain_scores_gemma":[0.9979049,0.0007028428,0.0001689445,0.00005953807,0.0002752115,0.0008886538],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"qualitative","study_design_scores_codex":[0.00001786878,0.0000207446,0.0009634948,0.00002414457,0.000001364117,0.001475196,0.9598284,0.00001103576,0.0003267273,0.001900493,0.03232411,0.003106381],"study_design_scores_gemma":[0.000002651432,0.00002393165,0.001597164,0.000102432,0.000001952031,0.0005812283,0.8257259,0.00001647267,0.00007896101,0.0002542267,0.1716014,0.00001359805],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.659285,0.00497702,0.0007583689,0.1489064,0.002966898,0.0001396263,0.0002040307,0.0001042587,0.1826585],"genre_scores_gemma":[0.8020138,0.002795686,0.0006571443,0.03920066,0.0004262447,0.0001750612,0.0001066773,0.0001491523,0.1544756],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.06161688,"threshold_uncertainty_score":0.1225165,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3160435092","doi":"10.18274/pywe7015","title":"The Cult of Shakespeare in Soviet Russia and the Vilified Ophelia","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"York University","funders":"","keywords":"Cult; History; Ancient history; Literature; Political science; Art","authors":[{"name":"Natalia Khomenko","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02105016349806829,"gpt":0.2226931308296151,"spread":0.2016429673315468,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001830895,0.0003008469,0.0004141937,0.001317784,0.0121329,0.00743683,0.0004731579,0.001198709,0.001478079],"category_scores_gemma":[0.002923505,0.0001788587,0.0001233001,0.001205537,0.02746881,0.002272296,0.005313569,0.002353065,0.0001921766],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004543872,"about_ca_system_score_gemma":0.002460741,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.008207015,"about_ca_topic_score_gemma":0.008947629,"domain_scores_codex":[0.9984895,0.0008728082,0.00004859329,0.0001135369,0.0002374138,0.0002381614],"domain_scores_gemma":[0.9991165,0.0005106215,0.0001649994,0.00006734279,0.0000510142,0.00008960984],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","study_design_scores_codex":[0.00007094805,0.00002107853,0.003701014,0.00007893411,0.00000910716,0.0008864638,0.5661373,0.0001151591,0.0006788126,0.4120667,0.002759553,0.01347501],"study_design_scores_gemma":[0.00004356991,0.0001422154,0.02990065,0.0008551847,0.00003950968,0.002150896,0.4613616,0.0004670272,0.002013044,0.09489243,0.4080688,0.00006500013],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7645608,0.007262124,0.001046268,0.007496219,0.0004692913,0.000009806059,0.00001869989,0.00003370118,0.2191031],"genre_scores_gemma":[0.9961056,0.0004762207,0.00003327802,0.0001026886,0.00003908487,0.000002476771,0.000002220293,0.000007930341,0.003230492],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.0121329,"threshold_uncertainty_score":0.03296822,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4405230585","doi":"10.18274/uegh1308","title":"Rachel and Juliet","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Literature: history, themes, analysis","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":false},"ca_institutions":"McMaster University","funders":"","keywords":"Art","authors":[{"name":"Sarah Johnson","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02517384984852512,"gpt":0.2158120627561978,"spread":0.1906382129076727,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001086327,0.0003910707,0.0002326318,0.001245065,0.009343633,0.005679987,0.0005681725,0.001134865,0.01152957],"category_scores_gemma":[0.00348973,0.0002450244,0.0001096325,0.001011557,0.009271232,0.002491624,0.004382266,0.003074624,0.001895269],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.003257738,"about_ca_system_score_gemma":0.002103703,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01121673,"about_ca_topic_score_gemma":0.0271998,"domain_scores_codex":[0.9988249,0.0004533721,0.00002522392,0.0001661484,0.000314128,0.0002162149],"domain_scores_gemma":[0.9990068,0.0004853765,0.0000856608,0.00008138272,0.0001497904,0.000191],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.00008925273,0.00003692424,0.001197098,0.0001855558,0.000008794272,0.001422693,0.4545699,0.00005265419,0.0009741198,0.4391888,0.06879113,0.03348309],"study_design_scores_gemma":[0.000003805652,0.00001669658,0.0009464949,0.0002615449,0.000004570965,0.0004670464,0.06689566,0.00003660389,0.00042412,0.004932756,0.9259987,0.00001209219],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1144573,0.008965889,0.0005510381,0.02203969,0.0009675585,0.00003013051,0.00004685478,0.00005546183,0.8528861],"genre_scores_gemma":[0.6078159,0.005170557,0.0004112634,0.003772411,0.0003625101,0.00004148119,0.00003854712,0.0001610603,0.3822263],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.01152957,"threshold_uncertainty_score":0.03857023,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4404706404","doi":"10.18274/hcdo2695","title":"King Lear and Incest, 1969-2016","year":2023,"lang":"en","type":"article","venue":"Borrowers and Lenders The Journal of Shakespeare Appropriations","topic":"Shakespeare, Adaptation, and Literary Criticism","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Psychology; Psychoanalysis","authors":[{"name":"Carol Thomas Neely","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0397463547333088,"gpt":0.2341435856683347,"spread":0.1943972309350259,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"metacan-v3-hybrid-931329e0061c","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001086261,0.0002960485,0.000192755,0.0007009556,0.01160784,0.005638675,0.0005178329,0.001172652,0.01309149],"category_scores_gemma":[0.004107871,0.000279992,0.000167259,0.001120378,0.01023497,0.002695455,0.004457348,0.002776764,0.003303336],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0140585,"about_ca_system_score_gemma":0.007503,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.1721644,"about_ca_topic_score_gemma":0.4092426,"domain_scores_codex":[0.9983902,0.0003224343,0.00007106073,0.0001799436,0.0006795911,0.0003567878],"domain_scores_gemma":[0.9988035,0.0003492075,0.0001018168,0.0001552981,0.0002495112,0.0003406653],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"qualitative","study_design_gemma":"not_applicable","study_design_scores_codex":[0.0001475638,0.00002742001,0.003535998,0.0002936332,0.00000903892,0.0009730093,0.5785188,0.00005681229,0.0009987946,0.127996,0.2262538,0.06118914],"study_design_scores_gemma":[0.000002029327,0.00000751486,0.002659489,0.0001109923,0.00000222719,0.0001417501,0.03915062,0.000005167736,0.0002372596,0.0007921727,0.956883,0.000007841691],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1252549,0.01321009,0.0006050761,0.0225247,0.002766196,0.00003594397,0.0005501449,0.000146129,0.8349068],"genre_scores_gemma":[0.5325564,0.00535049,0.0003271726,0.001980351,0.000329177,0.00002498313,0.0002323107,0.0001845868,0.4590145],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.1721644,"threshold_uncertainty_score":0.3423245,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}