{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":11,"total_is_capped":false,"direct_labels_cover":0,"predictions_cover":11,"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":"b0cbe4180804","filters":{"venue":"Journal of Contemporary Drama in English"}},"results":[{"id":"W2947059484","doi":"10.1515/jcde-2018-0015","title":"Multiculturalism, (Im)Migration, Theatre: The National Arts Centre, Ottawa, a Case of Staging Canadian Nationalism","year":2018,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Cultural Identity and Heritage","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"University of Ottawa","funders":"","keywords":"Multiculturalism; Nationalism; Xenophobia; The arts; Politics; Media studies; Ideology; Sociology; Cultural policy; Political science; Gender studies; Law","authors":[{"name":"Yana Meerzon","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04236390379755794,"gpt":0.2554736999337767,"spread":0.2131097961362187,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006980096,0.0001227753,0.0002104532,0.0002210483,0.000353081,0.0003068754,0.0002063529,0.0000507056,0.0006410542],"category_scores_gemma":[0.000334733,0.00008062767,0.0001270814,0.00009978799,0.0003086701,0.001187195,0.00001780726,0.0002473448,0.000006240334],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001275511,"about_ca_system_score_gemma":0.0003216008,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.06603336,"about_ca_topic_score_gemma":0.6573977,"domain_scores_codex":[0.9985781,0.0001049221,0.0006844518,0.0000993797,0.0003741505,0.0001589993],"domain_scores_gemma":[0.996664,0.0001467022,0.000424447,0.0000782502,0.002581134,0.0001055005],"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":[0.00005021449,0.0001549369,0.003083936,0.00003916493,0.000152972,0.0004878508,0.5995405,0.00004696357,0.0001209451,0.1732005,0.2228394,0.0002825944],"study_design_scores_gemma":[0.0008205936,0.00006773989,0.00105476,0.0001351743,0.00001838603,0.0001375242,0.0573268,0.0001395951,0.000123554,0.001590381,0.93843,0.0001554543],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9252248,0.0003628964,0.000001226087,0.00719376,0.001382817,0.0001945807,0.0001308919,0.00001284656,0.06549615],"genre_scores_gemma":[0.9950162,0.000008862057,0.00004255071,0.0007532493,0.002349907,0.0000021336,0.00001684463,0.000009029222,0.001801225],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7155907,"threshold_uncertainty_score":0.940186,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3029609596","doi":"10.1515/jcde-2020-0004","title":"“Writing Plays That Are Climate Change”","year":2020,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Climate Change Communication and Perception","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":false,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Climate change; Publishing; Media studies; History; Political science; Visual arts; Sociology; Art; Law","authors":[{"name":"Nassim W. Balestrini","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.4917322401436295,"gpt":0.4071606622528968,"spread":0.08457157789073272,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001375388,0.00009424001,0.0002700842,0.0001171364,0.0001809327,0.0001396652,0.0004095938,0.0001102896,0.0002278829],"category_scores_gemma":[0.0007048421,0.00009462264,0.0001115629,0.0002894025,0.00008969508,0.001032948,0.00007038184,0.0004121892,0.00001275175],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007751022,"about_ca_system_score_gemma":0.00007790805,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00008710574,"about_ca_topic_score_gemma":0.0002872722,"domain_scores_codex":[0.9984733,0.0003822146,0.0004705187,0.0001005881,0.0003647466,0.0002086407],"domain_scores_gemma":[0.9986127,0.0002076457,0.0005798464,0.0001165994,0.0002878924,0.0001953256],"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":[0.0002320375,0.000164514,0.4812362,0.0001008158,0.0000207585,0.0001501729,0.4901135,0.000009719031,0.0001185042,0.003818696,0.00913917,0.01489595],"study_design_scores_gemma":[0.001849136,0.000171692,0.05978828,0.0007610553,0.00001374845,0.000005174753,0.3723168,0.0001629461,0.0000380452,0.0002783035,0.5642851,0.000329678],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7584906,0.004120964,0.00002782513,0.0509663,0.001202956,0.0004229911,0.00003109163,0.000120632,0.1846167],"genre_scores_gemma":[0.9908724,0.004758867,0.00009201164,0.002364865,0.001872886,0.000005368045,0.000005296797,0.00001266064,0.00001569126],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5551459,"threshold_uncertainty_score":0.3858599,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4409948107","doi":"10.1515/jcde-2025-2007","title":"Digital Spoken Word Theatre in the UK: Navigating the Theatre Screen with Rose Condo’s <i>The Geography of Me</i>","year":2025,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Theatre and Performance 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":"Rose (mathematics); Art; Spoken word; Word (group theory); Visual arts; History; Literature; Linguistics; Philosophy; Poetry","authors":[{"name":"Shefali Banerji","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01124639992189439,"gpt":0.2225817337749668,"spread":0.2113353338530724,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001163983,0.0002147545,0.0004364126,0.0001437487,0.0003024187,0.0003428426,0.0007072581,0.00004499031,0.00002900545],"category_scores_gemma":[0.00003996384,0.00008803414,0.0002187611,0.0002752232,0.0006458848,0.0006633777,0.00007360138,0.0009085317,7.077138e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00001631483,"about_ca_system_score_gemma":0.000145376,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003370679,"about_ca_topic_score_gemma":0.001023834,"domain_scores_codex":[0.998328,0.0001740369,0.0007644212,0.0001239531,0.0003748399,0.0002347992],"domain_scores_gemma":[0.9981591,0.0008144108,0.000427541,0.0003139302,0.0002606394,0.00002438023],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"not_applicable","study_design_scores_codex":[0.001191613,0.0003031032,0.7296705,0.00009308699,0.000535152,0.00009686867,0.2030068,0.0001554422,0.000005990999,0.009017568,0.01848402,0.03743991],"study_design_scores_gemma":[0.003937604,0.0007731065,0.02557327,0.002615284,0.0001341973,0.00003169303,0.3608107,0.00002929854,0.00009051742,0.005158478,0.6004671,0.0003786825],"study_design_candidate":"observational","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6695902,0.005772465,0.000002449014,0.003855608,0.0004642723,0.0003598392,0.00004288445,0.0000123246,0.3199],"genre_scores_gemma":[0.9982148,0.0001372886,0.000006850914,0.0007852415,0.0006187773,0.00001222242,0.000004856121,0.0000128358,0.0002071487],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.7040972,"threshold_uncertainty_score":0.3947169,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2553903514","doi":"10.1515/jcde-2016-0022","title":"The Messy Business of Art, Research, and Collaboration: Audience Engagement in Home/Less/Mess","year":2016,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Theatre and Performance 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":"Audience response; Subject (documents); Audience participation; Theatre studies; Audience reception; Sociology; Public relations; Media studies; Aesthetics; Art; Visual arts; Political science; Drama; Engineering; World Wide Web","authors":[{"name":"Dawn Farough","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06390438302856312,"gpt":0.2892353379656302,"spread":0.2253309549370671,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002390389,0.00009321707,0.0002702031,0.0002393754,0.0002246106,0.0001233611,0.0002161572,0.00002840609,0.00003477579],"category_scores_gemma":[0.0003062071,0.00004872674,0.0000266396,0.0001966203,0.0006133436,0.0008812679,0.00007628349,0.0002306137,0.000001386997],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004164069,"about_ca_system_score_gemma":0.0001997832,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00003880092,"about_ca_topic_score_gemma":0.001439819,"domain_scores_codex":[0.9985912,0.0002045721,0.0005873506,0.00009320937,0.0003421227,0.0001815054],"domain_scores_gemma":[0.99758,0.0006784101,0.0002679681,0.0001290564,0.001309715,0.00003483744],"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":[0.002135996,0.000701928,0.1700614,0.0003740938,0.0002332577,0.0002166988,0.4393689,0.00003007264,0.0003507394,0.2067474,0.1456677,0.03411174],"study_design_scores_gemma":[0.001958074,0.0004194568,0.02453298,0.000891454,0.000005496446,0.000002962951,0.08308125,0.000003568602,0.0001859361,0.004771758,0.8840087,0.0001383571],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9358479,0.00510832,0.00000358225,0.004555286,0.001057325,0.0001845125,0.00001349343,0.000006147991,0.05322348],"genre_scores_gemma":[0.995457,0.00223323,0.00000787466,0.00002702314,0.0005537538,0.000009080157,3.780136e-7,0.000007047066,0.001704601],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.738341,"threshold_uncertainty_score":0.225989,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4404797288","doi":"10.1515/jcde-2024-2024","title":"The Unrepresentable Takes the Stage: Bisexual Legibility and Theatrical Monosexism in Contemporary English-Language Drama","year":2024,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Theatre and Performance 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":"Drama; Legibility; Art; Literature; Stage (stratigraphy); Theatrical production; Linguistics; Visual arts; Philosophy","authors":[{"name":"Charlie Peters","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0472038405045541,"gpt":0.2912043133588594,"spread":0.2440004728543053,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002515546,0.0002853024,0.0005178153,0.0002609161,0.0003946157,0.001023358,0.0004701582,0.00009172472,0.00007138013],"category_scores_gemma":[0.00044041,0.0001506915,0.0001724734,0.0002101752,0.0007158592,0.001502649,0.000118237,0.001154482,0.000003426144],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00007190766,"about_ca_system_score_gemma":0.0003334842,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0007990365,"about_ca_topic_score_gemma":0.001081114,"domain_scores_codex":[0.9974659,0.0003971918,0.001067645,0.000278681,0.0004289228,0.0003616294],"domain_scores_gemma":[0.9973374,0.001724104,0.0002437778,0.0003504006,0.000252729,0.00009158964],"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":[0.0008936584,0.000300344,0.04626966,0.0002218293,0.0003157693,0.0007203742,0.8430317,0.00007049996,0.00002250268,0.03100314,0.06388532,0.01326518],"study_design_scores_gemma":[0.001047485,0.000280848,0.001883111,0.0001818474,0.00001586068,0.00001032337,0.2789186,0.0002120171,0.00003478415,0.001102578,0.7160997,0.0002128771],"study_design_candidate":"qualitative","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7758165,0.08408187,0.000003157104,0.00287786,0.003748398,0.0004588901,0.00005681557,0.0000710898,0.1328854],"genre_scores_gemma":[0.9923962,0.0005487291,0.000005921738,0.0001616742,0.002852331,0.00001978997,0.000004110761,0.0000293108,0.003981976],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6522143,"threshold_uncertainty_score":0.986826,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2767798291","doi":"10.1515/jcde-2017-0030","title":"Flying? Falling? – Conflicting Representations of Disability in Kevin Kerr’s Skydive (2007) and Brad Fraser’s Kill Me Now (2013)","year":2017,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Theatre and Performance 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":"Drama; Appropriation; Disability studies; Gender studies; Sociology; Representation (politics); Queer; Undoing; Narrative; Aesthetics; Art; Psychology; Psychoanalysis; Visual arts; Literature; Political science; Law; Politics; Philosophy","authors":[{"name":"René Reinhold Schallegger","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03817574622537505,"gpt":0.2950291331772498,"spread":0.2568533869518747,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009711943,0.0001639978,0.0005438152,0.0001402538,0.0004072925,0.0002170606,0.0002955257,0.00006332849,0.0001279464],"category_scores_gemma":[0.0005893936,0.0001376376,0.0001138266,0.00003023654,0.000633859,0.001460724,0.000104108,0.0004110724,0.000001655814],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004041692,"about_ca_system_score_gemma":0.00007742811,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002040977,"about_ca_topic_score_gemma":0.007456871,"domain_scores_codex":[0.9983807,0.00009550364,0.0009247035,0.0001688596,0.0002324474,0.0001977564],"domain_scores_gemma":[0.9980373,0.0003237049,0.0008686402,0.0003096405,0.0003891805,0.00007149528],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0001913219,0.0001972378,0.8855449,0.0001066393,0.00008179817,0.00003384916,0.1060965,0.00002462084,0.00001516476,0.001752716,0.004240323,0.001714952],"study_design_scores_gemma":[0.006598272,0.0006775566,0.4949682,0.001538988,0.00007772027,0.00001008549,0.141486,0.0003181397,0.0002487756,0.003960886,0.3494714,0.0006440123],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.9431662,0.001657156,0.000002743968,0.001002401,0.00117677,0.000181404,0.00003508394,0.00001107445,0.05276717],"genre_scores_gemma":[0.9980987,0.0003873661,0.00004830652,0.00007876814,0.0009237427,0.000005166007,0.000002912724,0.00001316752,0.0004419067],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.3905767,"threshold_uncertainty_score":0.5612701,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3215932582","doi":"10.1515/jcde-2021-0034","title":"Jenn Stephenson. <i>Insecurity: Perils and Products of Theatres of the Real</i>. Toronto, Buffalo, and London: U of Toronto P, 2019, viii + 286 pp., $75.75 (hardback), $57.75 (ebook).","year":2021,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Theatre and Performance 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":"Drama; Media studies; Art; Sociology; Literature","authors":[{"name":"Chris Megson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01389794626593964,"gpt":0.2167095677302239,"spread":0.2028116214642842,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006775588,0.0002704029,0.0009479611,0.00004174062,0.000141819,0.00007826379,0.0002681075,0.00009020462,0.0002386437],"category_scores_gemma":[0.0001363738,0.0001862962,0.0001918768,0.00004567821,0.0005654217,0.001140496,0.0001733201,0.0002639911,2.190356e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00005268173,"about_ca_system_score_gemma":0.0002324446,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.006398297,"about_ca_topic_score_gemma":0.009654468,"domain_scores_codex":[0.9977342,0.0002227822,0.001149299,0.0002277352,0.0004303904,0.0002355725],"domain_scores_gemma":[0.9973819,0.0002123519,0.000875869,0.0003823772,0.001069306,0.00007824406],"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":[0.002995029,0.001497271,0.1074936,0.003544559,0.001729097,0.0001242313,0.692731,0.00001495204,0.008711223,0.03160071,0.1294459,0.02011237],"study_design_scores_gemma":[0.005198679,0.001848088,0.02884618,0.002360232,0.0002886998,0.00005978844,0.1155729,0.00001331929,0.01543428,0.001103536,0.828636,0.0006383275],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7139138,0.204928,2.509763e-7,0.0002847499,0.001029988,0.0002511726,0.0001234584,0.000009802023,0.07945874],"genre_scores_gemma":[0.9728277,0.02493874,0.00004815752,0.0000761078,0.0009762656,0.000003886214,0.000003867136,0.00002440308,0.001100869],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.6991901,"threshold_uncertainty_score":0.9672354,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3215221987","doi":"10.1515/jcde-2021-0020","title":"“My Skin Is Not Me”: The Transformations of William Shakespeare’s Othello in Ann-Marie MacDonald’s <i>Goodnight Desdemona (Good Morning Juliet)</i> and Djanet Sears’s <i>Harlem Duet</i>","year":2021,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","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":"Dramatization; Appropriation; Spell; Character (mathematics); Vision; Literature; Art; History; Philosophy; Theology; Epistemology","authors":[{"name":"Imed Sassi","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02253858414791399,"gpt":0.2241803774428632,"spread":0.2016417932949492,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001134905,0.0002830032,0.0006278552,0.0003012425,0.0002151087,0.0004193302,0.000342037,0.000118034,0.0005405798],"category_scores_gemma":[0.0002536984,0.0002293444,0.0002293088,0.0002309644,0.000308086,0.001891242,0.00003928926,0.0007500002,0.000003559659],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004678587,"about_ca_system_score_gemma":0.0004329229,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0001038625,"about_ca_topic_score_gemma":0.0007720945,"domain_scores_codex":[0.9968923,0.0003970253,0.001522412,0.0002428707,0.0006189885,0.0003264267],"domain_scores_gemma":[0.9975489,0.0008288961,0.0004851998,0.0002564498,0.0007459124,0.0001345808],"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":[0.0005182145,0.0007972915,0.01350879,0.0004246712,0.0003191986,0.0005846794,0.8923077,0.0003726582,0.0002983032,0.06226554,0.02453718,0.004065803],"study_design_scores_gemma":[0.003379151,0.0002552902,0.005306357,0.0007148777,0.00007079182,0.00005734924,0.05538182,0.0005995706,0.001209236,0.003135034,0.929479,0.0004115432],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.7839609,0.01926777,0.000114886,0.005801052,0.00179142,0.000690457,0.0006409091,0.00005416811,0.1876785],"genre_scores_gemma":[0.9941581,0.0005047654,0.0001427227,0.002233592,0.0006747851,0.000008942796,0.00003701503,0.00003801833,0.002202039],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9049418,"threshold_uncertainty_score":0.9352392,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2333808791","doi":"10.1515/jcde-2014-0035","title":"Sean Carney. The Politics and Poetics of Contemporary English Tragedy. Toronto: University of Toronto Press, 2013, 360pp., $34.95 (paperback), $75.00 (hardback), $34.95 (ebook).","year":2014,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","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":"Poetics; Tragedy (event); Politics; Media studies; Art; Art history; Sociology; Literature; Political science; Poetry; Law","authors":[{"name":"Elizabeth Sakellaridou","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02173145318922569,"gpt":0.2156435058791688,"spread":0.1939120526899432,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow"],"consensus_categories":[],"category_scores_codex":[0.001446255,0.0004126585,0.0009986619,0.00003440767,0.0002715071,0.0002182975,0.0007273866,0.000208009,0.000566475],"category_scores_gemma":[0.000454043,0.0003545089,0.0003492598,0.00003859225,0.0008350213,0.002537564,0.0001099564,0.0005460863,0.000001103474],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001836837,"about_ca_system_score_gemma":0.0004427661,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.01991484,"about_ca_topic_score_gemma":0.00859687,"domain_scores_codex":[0.996428,0.0007205047,0.001443749,0.0003227651,0.0006790393,0.0004060009],"domain_scores_gemma":[0.9954388,0.000853452,0.001093276,0.0005355981,0.001794999,0.000283858],"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":[0.0009021451,0.0008342115,0.007755732,0.0006952461,0.0005836069,0.0001231527,0.5016471,0.00004809432,0.00008886271,0.2354829,0.250494,0.001344994],"study_design_scores_gemma":[0.002900863,0.0007073176,0.002045528,0.000385088,0.0000901495,0.0000107244,0.09251343,0.0001748429,0.0000669467,0.00092995,0.8998022,0.0003729696],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3587964,0.150654,0.00002890795,0.0005051234,0.003597821,0.0009045814,0.0005266306,0.00009544446,0.4848911],"genre_scores_gemma":[0.9904602,0.004231127,0.0001259561,0.000237255,0.001795066,0.000001768028,0.00003469945,0.00005372139,0.003060247],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6493082,"threshold_uncertainty_score":0.9998907,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2610554247","doi":"10.1515/jcde-2017-0008","title":"On the Portability and Meanings of Blackness in Young Jean Lee’s The Shipment (2009)","year":2017,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","topic":"Asian Culture and Media Studies","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 Toronto","funders":"","keywords":"Software portability; Art; Aesthetics; Art history; Sociology; Computer science","authors":[{"name":"Ilka Saal","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02997503928191145,"gpt":0.2927793996224238,"spread":0.2628043603405124,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004032285,0.00008873895,0.0002717329,0.00004562735,0.0003321541,0.00009686962,0.0004656998,0.00006331885,0.00001333928],"category_scores_gemma":[0.005674321,0.00004652247,0.00006771864,0.00006598328,0.0006535233,0.0003834882,0.00005772421,0.0003753603,3.169426e-7],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004825786,"about_ca_system_score_gemma":0.0002043646,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001039908,"about_ca_topic_score_gemma":0.009353485,"domain_scores_codex":[0.9986066,0.0002818952,0.0004484241,0.00009581598,0.0004124678,0.0001548186],"domain_scores_gemma":[0.99826,0.0005859782,0.0006454503,0.0002073295,0.0002448017,0.00005641887],"domain_codex":null,"domain_gemma":null,"domain_candidate":null,"domain_consensus":null,"study_design_codex":"observational","study_design_gemma":"observational","study_design_scores_codex":[0.0001643491,0.0001634114,0.5528199,0.00002076491,0.0000449609,0.00006440985,0.419131,0.000003919033,0.00001953049,0.01825158,0.00707603,0.002240174],"study_design_scores_gemma":[0.001536142,0.0002313441,0.5667222,0.000461907,0.00002504738,0.000002283167,0.3669487,0.000004083778,0.0001597921,0.01171046,0.05201018,0.0001878935],"study_design_candidate":"observational","study_design_consensus":"observational","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8799291,0.000916273,0.000001575997,0.01364604,0.0006759344,0.0002292761,0.000002112701,0.000003472713,0.1045962],"genre_scores_gemma":[0.9990213,0.0002569591,0.00001030385,0.0001205094,0.0003085787,0.00000382101,1.353915e-7,0.000004114737,0.0002743101],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.1190922,"threshold_uncertainty_score":0.6793103,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W3103460960","doi":"10.1515/jcde-2020-0018","title":"The Past as Prologue: Imagining a Brave New World in Philip Osment’s<i>This Island’s Mine</i>","year":2020,"lang":"en","type":"article","venue":"Journal of Contemporary Drama in English","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":"Populism; Reactionary; Thatcherism; Indictment; Prologue; Authoritarianism; Allende meteorite; Criticism; Political science; Environmental ethics; Art; Sociology; Philosophy; Law; Politics; Literature; Democracy","authors":[{"name":"Andrew Urie","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03516335207291724,"gpt":0.2394180735448697,"spread":0.2042547214719524,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006813681,0.0002043502,0.0003822642,0.0002378385,0.0001413198,0.0005565372,0.0004062512,0.00004419117,0.0007616447],"category_scores_gemma":[0.0005177816,0.0001522052,0.0001330427,0.000197729,0.0001600766,0.001242649,0.00004024543,0.0006765386,0.00002307729],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00004406884,"about_ca_system_score_gemma":0.0004027789,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0003232357,"about_ca_topic_score_gemma":0.001953324,"domain_scores_codex":[0.9979288,0.0002181104,0.001009886,0.0001927357,0.0003685702,0.0002819081],"domain_scores_gemma":[0.9984329,0.0004539685,0.0003889986,0.0001491316,0.0003965141,0.0001784735],"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":[0.0008750263,0.0001632134,0.02026684,0.00005647836,0.00008563318,0.0006152715,0.5527089,0.00004158894,0.00001733172,0.04411033,0.3776571,0.003402292],"study_design_scores_gemma":[0.002200744,0.0003135057,0.0005637884,0.0001822457,0.00001378072,0.00001328197,0.01840107,0.0001123784,0.00001146673,0.003370187,0.9746357,0.0001818949],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1853451,0.009114378,0.00003071807,0.0466832,0.003516031,0.0006617882,0.00003697792,0.0000800588,0.7545317],"genre_scores_gemma":[0.9765304,0.00004586199,0.00005300465,0.004651392,0.004724064,0.000006498463,0.00001096455,0.00002782969,0.01395002],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.7911852,"threshold_uncertainty_score":0.8339475,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}