{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":6,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":6,"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":"6f4812cae54f","filters":{"venue":"Connotations"}},"results":[{"id":"W2291843620","doi":"","title":"\"A Chorus Line\": Margaret Atwood's Penelopiad at the Crossroads of Narrative, Poetic and Dramatic Genres*","year":2014,"lang":"en","type":"article","venue":"Connotations","topic":"Utopian, Dystopian, and Speculative Fiction","field":"Arts and Humanities","cited_by":8,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Poetry; Literature; Narrative; Idyll; Chorus; Ballad; Drama; Art; History","authors":[{"name":"Susanne Jung","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02538539475519301,"gpt":0.2455376143289816,"spread":0.2201522195737885,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001955747,0.0001309355,0.0001893805,0.00005772308,0.0008418285,0.0001398566,0.0001084116,0.00003702234,0.003044274],"category_scores_gemma":[0.0001308494,0.0000917069,0.00006776467,0.00004908171,0.0005464561,0.0001294203,0.00004046319,0.00009006778,0.00009082339],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002584454,"about_ca_system_score_gemma":0.00002348231,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001054965,"about_ca_topic_score_gemma":0.001670259,"domain_scores_codex":[0.9990613,0.0001332812,0.000321844,0.0001782636,0.000155688,0.0001495589],"domain_scores_gemma":[0.999105,0.0002468263,0.0001614712,0.000232251,0.0002108463,0.00004361604],"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":[0.000007843922,0.00002267433,0.0005416498,0.00002718975,0.00002950709,3.123232e-7,0.06274784,0.00003241047,0.0002644248,0.9345137,0.0007996424,0.001012813],"study_design_scores_gemma":[0.001018844,0.0002537275,0.05322082,0.00006945973,0.0001032644,0.000008088255,0.006386879,0.003574726,0.0005421303,0.01044088,0.9240405,0.0003406774],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9302278,0.0000563053,0.0004899882,0.001165292,0.0003314936,0.0002417431,0.00004288581,0.00003127585,0.06741323],"genre_scores_gemma":[0.7459515,0.00001131179,0.00005973625,0.0001441915,0.0001928934,0.00002324893,0.00003825679,0.00001102426,0.2535679],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9240728,"threshold_uncertainty_score":0.9978671,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2778254559","doi":"","title":"The Psychoanalytic Theme in Margaret Atwood's Fiction: A Response to Burkhard Niederhoff*1","year":2009,"lang":"en","type":"article","venue":"Connotations","topic":"Utopian, Dystopian, and Speculative Fiction","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Oryx; Psychoanalysis; Dystopia; Literature; Art; Sociology; History; Psychology","authors":[{"name":"Fiona Tolan","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03199666402383871,"gpt":0.2737558327859337,"spread":0.241759168762095,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002919064,0.000122839,0.0001204085,0.0001482925,0.0007362019,0.0002617818,0.0001449904,0.0000336408,0.0005754155],"category_scores_gemma":[0.0001338865,0.00009494809,0.00007482082,0.0001488188,0.00008597055,0.0001516303,0.000009737564,0.0001307878,0.0001656555],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007979025,"about_ca_system_score_gemma":0.00004110724,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00003507814,"about_ca_topic_score_gemma":0.001559334,"domain_scores_codex":[0.9990083,0.0001275545,0.0002751643,0.0002055095,0.0001606192,0.0002228582],"domain_scores_gemma":[0.9992556,0.0002232694,0.00005684192,0.0002654668,0.0001355641,0.00006324254],"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":[0.0001378236,0.00004469135,0.0000999502,0.000001400287,0.00001313269,0.000003221492,0.01420833,0.00006687688,0.0001198204,0.9774978,0.005116289,0.002690732],"study_design_scores_gemma":[0.0003487545,0.0001428116,0.03630804,0.00002154815,0.0000129035,0.00000215711,0.00113626,0.0003470415,0.00001314992,0.007252917,0.9542798,0.0001346304],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5450936,0.00007114493,0.001189144,0.04131655,0.001405536,0.0008461169,0.00003795795,0.0002004665,0.4098395],"genre_scores_gemma":[0.6635402,0.00001185046,0.00005406228,0.0009500831,0.000296351,0.00003850172,0.00001181512,0.000008831083,0.3350882],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9702448,"threshold_uncertainty_score":0.6300396,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2603122835","doi":"","title":"Ambiguity and the Poets","year":2008,"lang":"en","type":"article","venue":"Connotations","topic":"Lexicography and Language Studies","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Casual; Ambiguity; Reputation; Order (exchange); Visitor pattern; Sociology; Law; History; Computer science; Law and economics; Linguistics; Philosophy; Political science; Business","authors":[{"name":"Eleanor Cook","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04008596349166054,"gpt":0.208146491558507,"spread":0.1680605280668464,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00004281728,0.00003598514,0.00004871933,0.00001896219,0.0009208951,0.00003224094,0.00003261348,0.000005666984,0.0003532955],"category_scores_gemma":[0.00003631111,0.00002067968,0.00002921458,0.00001767504,0.0009885752,0.00005364469,0.00001345053,0.00003765491,0.00001990925],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000001229553,"about_ca_system_score_gemma":0.000005450339,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001803844,"about_ca_topic_score_gemma":0.0005496369,"domain_scores_codex":[0.9997793,0.00002097402,0.00005509814,0.00004975878,0.00003918379,0.00005572099],"domain_scores_gemma":[0.9997647,0.0001038307,0.00001700172,0.00006158777,0.000041482,0.00001140542],"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":[0.000004697704,0.000007103397,0.0002162723,0.000001903823,0.00002062168,0.000001938002,0.1693846,1.712842e-7,9.301312e-7,0.8256163,0.004165965,0.0005795386],"study_design_scores_gemma":[0.00240603,0.00003804145,0.03740925,0.00001404387,0.00007290833,0.00002277997,0.0460089,0.00005426023,0.0000220952,0.04146438,0.8722602,0.0002270809],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5348048,0.002263709,0.00004258487,0.003710197,0.0002602262,0.0001477643,0.00002457691,0.00007247918,0.4586736],"genre_scores_gemma":[0.994655,0.00007575159,0.00001588595,0.0007216164,0.0001491563,0.00001834848,0.000002615136,0.00000235195,0.004359309],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8680943,"threshold_uncertainty_score":0.7082874,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2604351850","doi":"","title":"Ghosts, Knowledge and Truth in Atwood: A Reader's Guide to Six Responses*","year":2009,"lang":"en","type":"article","venue":"Connotations","topic":"Utopian, Dystopian, and Speculative Fiction","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Contradiction; Ambivalence; Argument (complex analysis); Alias; Reading (process); Psychoanalysis; Rhetorical question; Innocence; Paraphrase; Literature; Psychology; Philosophy; Epistemology; Art; Linguistics; Computer science","authors":[{"name":"Burkhard Niederhoff","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03976288580529783,"gpt":0.3088147168767078,"spread":0.26905183107141,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001259619,0.0001081908,0.0001332876,0.0002272145,0.0002432524,0.0001073889,0.00006291262,0.00003440445,0.0003152873],"category_scores_gemma":[0.0001619943,0.0001060357,0.00003196856,0.00009127226,0.00007060981,0.0001647912,0.00001210653,0.0000835067,0.0001236288],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005015562,"about_ca_system_score_gemma":0.00004435031,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001071681,"about_ca_topic_score_gemma":0.003089017,"domain_scores_codex":[0.9992555,0.00007128347,0.0002305614,0.0002038841,0.00006967525,0.0001690765],"domain_scores_gemma":[0.9994889,0.0001546311,0.00003557366,0.0001409677,0.0001061352,0.00007376468],"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":[0.00002259512,0.00005144958,0.0003038401,0.000004271993,0.000005242226,0.000003917988,0.03454852,0.000004379532,0.0001232161,0.9580187,0.001489518,0.005424412],"study_design_scores_gemma":[0.0004380573,0.0001440555,0.06297334,0.00004309616,0.00001121327,0.000002832841,0.001143791,0.0001338963,0.00004441391,0.00375748,0.9311497,0.0001581645],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7749873,0.00008780735,0.0002363855,0.002412858,0.000361534,0.0002819002,0.00004132802,0.0000818149,0.2215091],"genre_scores_gemma":[0.6752769,0.00001419251,0.0002456399,0.0004519625,0.0002685673,0.00001916623,0.00001954997,0.000008341486,0.3236956],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9542611,"threshold_uncertainty_score":0.4324009,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2595458691","doi":"","title":"A Response to \"The Return of the Dead in Margaret Atwood's Surfacing and Alias Grace\"*","year":2009,"lang":"en","type":"article","venue":"Connotations","topic":"Utopian, Dystopian, and Speculative Fiction","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Poetry; Character (mathematics); Literature; Narrative; Art; History; Art history; Criticism","authors":[{"name":"Eleonora Rao","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03032806977128119,"gpt":0.248799570181707,"spread":0.2184715004104258,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002444361,0.00006543611,0.00008499065,0.00006093565,0.000280813,0.0000562213,0.00008239693,0.00002018043,0.0001101744],"category_scores_gemma":[0.0001422924,0.00004216855,0.00003406846,0.00008679134,0.00009046162,0.00008021464,0.00001448734,0.00007831305,0.000007430206],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00002221354,"about_ca_system_score_gemma":0.00002369202,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001760199,"about_ca_topic_score_gemma":0.005564142,"domain_scores_codex":[0.9993964,0.0001455482,0.0001661493,0.0001020158,0.00009125807,0.00009860622],"domain_scores_gemma":[0.999545,0.0001415313,0.00005223231,0.000160424,0.00007879795,0.00002204939],"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":[0.00005439415,0.00002120383,0.002760986,0.000003602306,0.00000612617,9.119449e-7,0.05196622,0.00005333563,0.0007793001,0.9429955,0.0005928992,0.0007655077],"study_design_scores_gemma":[0.0004003123,0.0001057194,0.4940095,0.00006759857,0.00001891109,0.00000288217,0.002202919,0.0003380905,0.0002408485,0.0055584,0.4969348,0.0001199989],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9816819,0.00002238523,0.0000606777,0.01104659,0.0001712277,0.0002244331,0.00002858597,0.00001341459,0.006750751],"genre_scores_gemma":[0.9360076,0.000003338494,0.00004091761,0.0005653271,0.00004815197,0.000006902752,0.000003092784,0.00000409132,0.06332058],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9374371,"threshold_uncertainty_score":0.3104922,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2732345052","doi":"","title":"Surfacing from Six Feet Under: A Response to Burkhard Niederhoff*","year":2009,"lang":"en","type":"article","venue":"Connotations","topic":"Short Stories in Global Literature","field":"Arts and Humanities","cited_by":0,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Theme (computing); Literature; Motif (music); History; Poetry; Interpretation (philosophy); Art; Aesthetics; Philosophy; Linguistics","authors":[{"name":"Lorraine York","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02216806386644098,"gpt":0.2595043584316115,"spread":0.2373362945651705,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001099584,0.0001380855,0.000144688,0.00008012507,0.0004723762,0.000376697,0.0001652716,0.00004711971,0.001280387],"category_scores_gemma":[0.0002311949,0.0001358933,0.00005569398,0.0000924459,0.00007191073,0.0001944658,0.00002609407,0.0001221205,0.0001524267],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00008060865,"about_ca_system_score_gemma":0.00005436237,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00007261017,"about_ca_topic_score_gemma":0.0003760168,"domain_scores_codex":[0.9991097,0.00007104467,0.0002052112,0.0002352594,0.0001668783,0.0002118326],"domain_scores_gemma":[0.9990956,0.0002868516,0.0000422511,0.0002935287,0.0001785743,0.0001031994],"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":[0.0001838411,0.00004416426,0.00007252568,0.000001540172,0.00002774213,0.00001075843,0.04492342,0.0001607699,0.001508072,0.910263,0.04157102,0.001233169],"study_design_scores_gemma":[0.0002338059,0.0000966627,0.003596424,0.00003182291,0.00002253766,0.00000124371,0.003939735,0.00002497501,0.0001178199,0.01629114,0.9754389,0.0002049448],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6666752,0.0005549911,0.0008041537,0.01198537,0.002523929,0.000460739,0.0008071943,0.0004525447,0.3157359],"genre_scores_gemma":[0.9808885,0.0000013301,0.0008574841,0.005401186,0.0004981925,0.00001275535,0.0001187385,0.00001260207,0.0122092],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9338679,"threshold_uncertainty_score":0.9996326,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}