{"meta":{"page":1,"per_page":50,"max_per_page":100,"total":377,"total_is_capped":false,"direct_labels_cover":8,"predictions_cover":377,"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":"9c365affd57d","filters":{"venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales"}},"results":[{"id":"W1994070177","doi":"10.7202/041584ar","title":"Théâtre et traduction : un aperçu du débat théorique","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Translation Studies and Practices","field":"Arts and Humanities","cited_by":13,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","authors":[{"name":"Fabio Regattin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0207371745800549,"gpt":0.248255026654164,"spread":0.2275178520741091,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.001231222,0.00143103,0.001312308,0.0003597991,0.002161228,0.001200222,0.0009892788,0.0008274862,0.004265071],"category_scores_gemma":[0.0001828356,0.001404421,0.001073561,0.0003602623,0.001637099,0.003139985,0.0001560535,0.00269346,0.0005116927],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001395182,"about_ca_system_score_gemma":0.0004835106,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003639038,"about_ca_topic_score_gemma":0.2178402,"domain_scores_codex":[0.9940652,0.0006191402,0.001557323,0.001470677,0.0007648679,0.001522843],"domain_scores_gemma":[0.995668,0.001176505,0.0008543383,0.001179811,0.0005196079,0.0006017285],"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":[0.0003550679,0.00107498,0.0004258824,0.0007837458,0.000746598,0.0001917862,0.02777025,0.000151264,0.0008014348,0.8960359,0.03512446,0.03653864],"study_design_scores_gemma":[0.000584685,0.0004993098,0.001577994,0.000497405,0.0007907973,0.0005004244,0.002423299,0.000195624,0.0002826455,0.003455284,0.9875847,0.001607889],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.09381695,0.005219525,0.0001136446,0.3017317,0.01211225,0.001304709,0.001058987,0.0007925746,0.5838496],"genre_scores_gemma":[0.8202184,0.02294145,0.001311918,0.00217277,0.008546099,0.0002145455,0.0002519699,0.0003335878,0.1440092],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9524602,"threshold_uncertainty_score":0.999844,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2016575459","doi":"10.7202/041574ar","title":"Le geste théâtral contemporain : entre présentation et symboles","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":9,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Jean-Frédéric Chevallier","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01759850418426475,"gpt":0.2712961653668362,"spread":0.2536976611825714,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.001358887,0.001158401,0.001394101,0.0002985906,0.001693355,0.0003946508,0.001285303,0.0009465239,0.0005529334],"category_scores_gemma":[0.0005622411,0.001211824,0.0009882161,0.001092742,0.00254044,0.002290481,0.0002288474,0.001913788,0.000373726],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003630294,"about_ca_system_score_gemma":0.00196967,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01054654,"about_ca_topic_score_gemma":0.3109249,"domain_scores_codex":[0.9930504,0.00106728,0.00148593,0.00149046,0.001047474,0.001858488],"domain_scores_gemma":[0.9961099,0.000895114,0.0007268658,0.0008663514,0.0004424381,0.0009593342],"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":[0.0001443054,0.0009662478,0.001744568,0.0004331699,0.0003010657,0.000223454,0.09032767,0.00003239252,0.001303293,0.8392311,0.0599359,0.005356838],"study_design_scores_gemma":[0.0004743608,0.0003307986,0.00304579,0.0005865922,0.0002643109,0.00007428952,0.004908212,0.00005799791,0.000209192,0.003129302,0.9855567,0.001362512],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2378196,0.001932706,0.00004758641,0.1953186,0.009466688,0.001340757,0.0004309041,0.0006124802,0.5530307],"genre_scores_gemma":[0.7222974,0.001424377,0.0008378457,0.001330911,0.002708573,0.0001360474,0.0001395091,0.0001324042,0.2709929],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9256207,"threshold_uncertainty_score":0.9996063,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2018580626","doi":"10.7202/041458ar","title":"Les manuscrits de la mise en scène","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Analyses","field":"Arts and Humanities","cited_by":6,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Jean-Marie Thomasseau","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02162899744334443,"gpt":0.2555668841528292,"spread":0.2339378867094848,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009850899,0.001074975,0.001104798,0.000371024,0.001441992,0.0008054776,0.001227456,0.0009456531,0.005407616],"category_scores_gemma":[0.0003638506,0.001051715,0.001027737,0.0002578355,0.002252816,0.001135439,0.0001746573,0.002452515,0.000453714],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003327919,"about_ca_system_score_gemma":0.0004310713,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01272678,"about_ca_topic_score_gemma":0.0706708,"domain_scores_codex":[0.9949534,0.0008324514,0.001126469,0.001068296,0.0005134558,0.001505925],"domain_scores_gemma":[0.9962673,0.001288671,0.0003576988,0.0009584607,0.0002612583,0.0008665708],"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":[0.0001711864,0.001163707,0.0004667215,0.001113454,0.0003478485,0.0007488193,0.03048534,0.00003558454,0.001801302,0.8699014,0.07726383,0.0165008],"study_design_scores_gemma":[0.0003035196,0.0003223504,0.001306823,0.0007499197,0.0006175163,0.0003713529,0.0008956941,0.0001523532,0.0003042787,0.003221634,0.9904875,0.001267099],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1778406,0.004529208,0.00002383041,0.03894871,0.00317947,0.0005143901,0.000714974,0.0004991038,0.7737497],"genre_scores_gemma":[0.5689242,0.001070062,0.0007829462,0.0005761192,0.004383422,0.00007057624,0.00008508373,0.0001436588,0.4239639],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.9132236,"threshold_uncertainty_score":0.999858,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2022974862","doi":"10.7202/1005613ar","title":"De la polyphonie hétéromorphe à une esthétique de la divergence","year":2011,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université du Québec à Trois-Rivières","funders":"","keywords":"Humanities; Philosophy; Art","authors":[{"name":"Hervé Guay","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.025204675234302,"gpt":0.2738569090959859,"spread":0.2486522338616839,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.002167909,0.0009895645,0.001113165,0.0002112689,0.001231563,0.0005153726,0.001786753,0.001664641,0.001789548],"category_scores_gemma":[0.0005080811,0.0009340236,0.001093319,0.001804425,0.00463766,0.001153745,0.0002299438,0.001550992,0.0002318944],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006588991,"about_ca_system_score_gemma":0.001384474,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.02745555,"about_ca_topic_score_gemma":0.08070286,"domain_scores_codex":[0.9919853,0.003202263,0.0009618779,0.001180094,0.0006128224,0.002057682],"domain_scores_gemma":[0.9963287,0.0009671835,0.0005531471,0.0007587137,0.0003062522,0.001086021],"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":[0.0002116523,0.00132623,0.008827812,0.0003826474,0.0007404984,0.001482508,0.08869778,0.0001349116,0.001733939,0.8458948,0.04220544,0.008361809],"study_design_scores_gemma":[0.0002816406,0.0003184716,0.02086432,0.0006166618,0.001024909,0.0004296151,0.004040943,0.0001418627,0.0006921488,0.01646226,0.9538442,0.001282947],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4064047,0.008008767,0.00009902645,0.01979482,0.001543276,0.0006737084,0.000240557,0.0004947638,0.5627404],"genre_scores_gemma":[0.8871034,0.006248329,0.0025156,0.003558085,0.001327336,0.000120837,0.00004526173,0.0001049938,0.09897617],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9116388,"threshold_uncertainty_score":0.9996314,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2160225625","doi":"10.7202/041455ar","title":"L’ethnoscénologie. Vers une scénologie générale","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","authors":[{"name":"Jean‐Marie Pradier","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02686620653745107,"gpt":0.2497605983830419,"spread":0.2228943918455908,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","insufficient_payload"],"category_scores_codex":[0.0006047112,0.001456013,0.001548024,0.0004620166,0.002239813,0.0006012108,0.001690747,0.001042029,0.002418907],"category_scores_gemma":[0.0002550193,0.001444376,0.00104879,0.0004616345,0.004843765,0.001596156,0.0004234174,0.002801622,0.001552009],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000257344,"about_ca_system_score_gemma":0.0006148178,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.008791476,"about_ca_topic_score_gemma":0.3430552,"domain_scores_codex":[0.9938678,0.0001974246,0.001398606,0.001456383,0.0006116742,0.002468161],"domain_scores_gemma":[0.9962438,0.0005654922,0.0005664138,0.001629189,0.0004500119,0.0005450549],"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":[0.0003455595,0.000805784,0.001395137,0.00100447,0.0007740561,0.000346555,0.02089655,0.000123213,0.001157825,0.851021,0.09659381,0.02553602],"study_design_scores_gemma":[0.000507098,0.0009042861,0.002105766,0.0006754601,0.0005868261,0.0001578859,0.004910856,0.0001060034,0.0006326789,0.003669751,0.9840147,0.001728668],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2698395,0.004180478,0.000006110814,0.101363,0.01194891,0.0009095692,0.0009310845,0.0009779665,0.6098434],"genre_scores_gemma":[0.8055685,0.008495268,0.00045103,0.0009311538,0.004825219,0.0001539824,0.0001325468,0.0002093158,0.179233],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8874209,"threshold_uncertainty_score":0.9998189,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2097165060","doi":"10.7202/041453ar","title":"Les études théâtrales et l’interdisciplinarité","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Philosophy","authors":[{"name":"Patrice Pavis","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04152798223946596,"gpt":0.3128472936062419,"spread":0.271319311366776,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","research_integrity"],"category_scores_codex":[0.001743401,0.001754451,0.00196047,0.0004462665,0.002803278,0.0005354552,0.002463179,0.001464556,0.001956616],"category_scores_gemma":[0.0006574318,0.00171733,0.00160236,0.001518636,0.004183901,0.002243204,0.0007128796,0.003257328,0.0006158516],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006522456,"about_ca_system_score_gemma":0.0009584253,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.006952435,"about_ca_topic_score_gemma":0.3303497,"domain_scores_codex":[0.9909361,0.001008668,0.001887244,0.002101489,0.00136987,0.002696609],"domain_scores_gemma":[0.9945029,0.00137255,0.0007858456,0.001433091,0.0005683416,0.001337278],"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":[0.0001841269,0.001388256,0.002472596,0.00071575,0.0004873122,0.0003436046,0.05706351,0.00004245529,0.001063037,0.8767836,0.03906668,0.02038904],"study_design_scores_gemma":[0.0003305097,0.0005509572,0.00514425,0.001004381,0.0004704702,0.0001345803,0.002507084,0.0000639374,0.0001447867,0.003562915,0.9840949,0.001991281],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2487251,0.003484052,0.0000401241,0.1195689,0.007704596,0.001107703,0.0005105014,0.0008302725,0.6180288],"genre_scores_gemma":[0.709576,0.003007291,0.001692498,0.001081955,0.003009341,0.0001822036,0.00009110154,0.0002049744,0.2811547],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9450282,"threshold_uncertainty_score":0.9998317,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2085967038","doi":"10.7202/044277ar","title":"Réflexions sur la réflexivité théâtrale","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Feminism, Gender, and Sexuality Studies","field":"Social Sciences","cited_by":5,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Jean-Claude Vuillemin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.04151344034651305,"gpt":0.3132851780990803,"spread":0.2717717377525672,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","research_integrity"],"category_scores_codex":[0.002667339,0.001747824,0.001989209,0.0004296413,0.002379214,0.000673544,0.002484725,0.001896792,0.001405717],"category_scores_gemma":[0.001754271,0.001882324,0.001445774,0.001647648,0.00584524,0.001990597,0.0004978108,0.00312299,0.000772435],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004277188,"about_ca_system_score_gemma":0.002451793,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.00794237,"about_ca_topic_score_gemma":0.307546,"domain_scores_codex":[0.9897845,0.001357304,0.001894649,0.002182763,0.001555989,0.003224814],"domain_scores_gemma":[0.9919692,0.003140306,0.0008134949,0.001907418,0.0006523791,0.001517214],"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":[0.0001579252,0.001564248,0.001255924,0.0007111161,0.00062489,0.0003304892,0.06657914,0.00006048538,0.001512387,0.8256847,0.09058741,0.01093132],"study_design_scores_gemma":[0.000482929,0.0004075511,0.002839201,0.000523215,0.0005958593,0.0002152966,0.01084895,0.00009494447,0.0003422352,0.007186612,0.9743618,0.002101378],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1870227,0.003050715,0.00004137984,0.1679274,0.009530161,0.001404667,0.000657512,0.0009932942,0.6293721],"genre_scores_gemma":[0.6657891,0.005177143,0.001062267,0.002287791,0.003374654,0.0001818779,0.00008505151,0.000240225,0.3218019],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.8837744,"threshold_uncertainty_score":0.9995267,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2320561658","doi":"10.7202/1033702ar","title":"Enseigner une « gymnastique d’ouverture à l’autre » : pour la transmission d’un art vivant","year":2015,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Lucie Villeneuve","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.09912099275690121,"gpt":0.358940183735384,"spread":0.2598191909784828,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","research_integrity"],"consensus_categories":[],"category_scores_codex":[0.003637373,0.001003696,0.001083543,0.0002480002,0.001035358,0.0002082789,0.00114085,0.001420933,0.0004717184],"category_scores_gemma":[0.001179003,0.001014406,0.0007126494,0.001133867,0.002689545,0.001008079,0.0000856168,0.001378736,0.0004177592],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005701042,"about_ca_system_score_gemma":0.003166487,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001325739,"about_ca_topic_score_gemma":0.007282505,"domain_scores_codex":[0.9923685,0.002721144,0.001169253,0.001272484,0.0009215767,0.001547039],"domain_scores_gemma":[0.9941047,0.002597719,0.0005576375,0.0006877327,0.0007185364,0.0013337],"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":[0.0001009295,0.001042119,0.0005681002,0.0003495832,0.0003083524,0.0001163352,0.1331091,0.0003660654,0.0003918996,0.7254786,0.115629,0.02253988],"study_design_scores_gemma":[0.0005421316,0.0002502081,0.001920893,0.001044759,0.0003483446,0.0001596445,0.03615746,0.0002714596,0.000112538,0.0118565,0.9462186,0.001117523],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.0465236,0.003915959,0.001247114,0.4718559,0.004310181,0.0009768592,0.0001711987,0.000516029,0.4704832],"genre_scores_gemma":[0.7656975,0.005458343,0.007524994,0.001779722,0.005521321,0.0001451923,0.0002324777,0.0001844027,0.2134561],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8305895,"threshold_uncertainty_score":0.9998754,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2031999849","doi":"10.7202/041457ar","title":"Dramaturgie et analyse dramaturgique","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"History, Culture, and Society","field":"Health Professions","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Bernard Martin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02830522950897068,"gpt":0.3362145449636491,"spread":0.3079093154546784,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"category_scores_codex":[0.003375039,0.00186628,0.002306994,0.0004224521,0.002370694,0.0003153181,0.002007123,0.004696951,0.003616023],"category_scores_gemma":[0.001626939,0.001857446,0.002050022,0.001299944,0.001795109,0.001625276,0.0003095778,0.01158639,0.001888639],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0009487146,"about_ca_system_score_gemma":0.003800978,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.003709276,"about_ca_topic_score_gemma":0.239892,"domain_scores_codex":[0.9884379,0.0025684,0.002527941,0.002114302,0.001082278,0.003269196],"domain_scores_gemma":[0.9911796,0.001831725,0.001320737,0.002701188,0.0009833121,0.001983453],"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":[0.000282566,0.001284843,0.001506847,0.002740187,0.000693946,0.0005056156,0.07310983,0.0001164139,0.005751694,0.5148933,0.3965872,0.002527574],"study_design_scores_gemma":[0.000784455,0.0002748097,0.004212222,0.001897871,0.0006248694,0.0002083622,0.006622942,0.0002208539,0.0002381018,0.001231992,0.981724,0.001959564],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1932533,0.004819372,0.0001475949,0.1298903,0.01952114,0.003284103,0.001258524,0.001519234,0.6463065],"genre_scores_gemma":[0.614953,0.004214605,0.007440927,0.01029498,0.004637388,0.0003940994,0.0005514996,0.0005143766,0.3569991],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.5851368,"threshold_uncertainty_score":0.9994082,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2892300788","doi":"10.7202/1050919ar","title":"Arts vivants et interdisciplinarité : l’interartistique en jeu","year":2018,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":4,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Philosophy; Art","authors":[{"name":"Marie-Christine Lesage","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.133188663094383,"gpt":0.3395585451394715,"spread":0.2063698820450884,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.0007850678,0.00144729,0.001322394,0.0003588327,0.0006953125,0.003186794,0.002486311,0.0007326848,0.0004303033],"category_scores_gemma":[0.0005083039,0.001276852,0.0008537691,0.0009860129,0.001387551,0.007804178,0.001722542,0.001184917,0.001376478],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000451826,"about_ca_system_score_gemma":0.0007166484,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00139499,"about_ca_topic_score_gemma":0.07598817,"domain_scores_codex":[0.9930234,0.0005216018,0.001548104,0.001982197,0.000778802,0.00214592],"domain_scores_gemma":[0.994839,0.000601469,0.0006023675,0.001848722,0.0007992864,0.001309207],"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":[0.000209374,0.000927751,0.0001088869,0.0004354366,0.0002806259,0.001376379,0.03143645,0.00006606235,0.002264085,0.8422314,0.1029362,0.01772738],"study_design_scores_gemma":[0.0004106392,0.001882573,0.00420397,0.003067285,0.0001494731,0.002137736,0.0003367805,0.002746009,0.004128943,0.01374501,0.9654571,0.001734466],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.07051667,0.001643556,0.006411852,0.1594552,0.007272622,0.001286888,0.0003906966,0.000988692,0.7520338],"genre_scores_gemma":[0.8114472,0.0005357431,0.003706717,0.003952948,0.002109726,0.00005336468,0.0000663567,0.0001430606,0.1779849],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.8625209,"threshold_uncertainty_score":0.9998277,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2093641383","doi":"10.7202/041456ar","title":"Le temps et le rythme au théâtre","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Analyses","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Manuel García Martínez","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01953821685744438,"gpt":0.233378135814814,"spread":0.2138399189573696,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.0008150057,0.001397116,0.001563531,0.0004568204,0.002469732,0.0008896273,0.001458411,0.000818726,0.002207451],"category_scores_gemma":[0.0002607699,0.00139185,0.001409847,0.0004138971,0.002288064,0.0026104,0.0002814262,0.00250475,0.000773759],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002362937,"about_ca_system_score_gemma":0.00260692,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.03836004,"about_ca_topic_score_gemma":0.4811164,"domain_scores_codex":[0.9937266,0.0005012557,0.001604242,0.00154856,0.0007002469,0.001919088],"domain_scores_gemma":[0.995822,0.0006130174,0.0006245835,0.001497213,0.0004355604,0.001007665],"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":[0.0001599328,0.001800185,0.0001667056,0.0008294861,0.0004191771,0.0003680133,0.01744061,0.00007118421,0.000840636,0.8968333,0.07785901,0.003211766],"study_design_scores_gemma":[0.0005028084,0.0004424566,0.0004649894,0.0006958738,0.0004051012,0.0002615134,0.001653892,0.000113378,0.0002682724,0.003424741,0.990045,0.001721933],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.05691922,0.002514336,0.0000326541,0.1402677,0.005721127,0.00071844,0.001031104,0.0006185889,0.7921768],"genre_scores_gemma":[0.5899583,0.0004947039,0.0003714465,0.001311854,0.003848981,0.00008763445,0.0002472829,0.00018642,0.4034934],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.912186,"threshold_uncertainty_score":0.9998779,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2083219654","doi":"10.7202/041573ar","title":"Un dramatique postthéâtral? Des récits en quête de scène et de cette quête considérée comme forme moderne de l’action","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"French Urban and Social Studies","field":"Social Sciences","cited_by":3,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Marie-Madeleine Mervant-Roux","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05392202738074171,"gpt":0.3096756537289236,"spread":0.2557536263481819,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity"],"consensus_categories":["metaepi_narrow","sts","research_integrity"],"category_scores_codex":[0.003727849,0.001394034,0.001585702,0.0003218739,0.002451317,0.000708649,0.001602494,0.001842884,0.0004330747],"category_scores_gemma":[0.002156871,0.001555112,0.0009128253,0.001318294,0.003910968,0.002100566,0.0003056218,0.003057411,0.0001356701],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002855723,"about_ca_system_score_gemma":0.003754678,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.04659281,"about_ca_topic_score_gemma":0.5823445,"domain_scores_codex":[0.9906844,0.002106317,0.001415543,0.001267121,0.0009347748,0.003591814],"domain_scores_gemma":[0.9942657,0.001861837,0.0007987922,0.0008864608,0.0006925766,0.001494618],"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":[0.0002098307,0.0008598046,0.005468315,0.0008371436,0.0008295038,0.0002892537,0.1367013,0.0003720381,0.006154512,0.810226,0.02812755,0.009924782],"study_design_scores_gemma":[0.0007489246,0.0004869865,0.02177892,0.001069716,0.0007975354,0.0004064674,0.004631711,0.001152215,0.002072726,0.05860924,0.9062724,0.00197319],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6982732,0.003985481,0.001362065,0.1126821,0.002710688,0.001559956,0.0005025518,0.0009071935,0.1780167],"genre_scores_gemma":[0.9297773,0.01263997,0.00741415,0.004225516,0.002409024,0.0002551704,0.0000802846,0.0002564313,0.04294214],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8781448,"threshold_uncertainty_score":0.999881,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2171101926","doi":"10.7202/041441ar","title":"Du fondement de la distinction entre monologue et soliloque","year":2000,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Linguistics and Discourse Analysis","field":"Arts and Humanities","cited_by":3,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Philosophy","authors":[{"name":"Jean-Jacques Delfour","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01482236147680602,"gpt":0.2561642662997809,"spread":0.2413419048229749,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000884812,0.0009071116,0.0009248938,0.0002447999,0.00104836,0.0009453124,0.0006660243,0.0005049416,0.01193997],"category_scores_gemma":[0.0002244344,0.0009122558,0.0008889542,0.0001698191,0.001252824,0.0005337796,0.0001049822,0.0008527907,0.0005163961],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004631389,"about_ca_system_score_gemma":0.0006101812,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01035127,"about_ca_topic_score_gemma":0.06803303,"domain_scores_codex":[0.9955927,0.0006780633,0.001053405,0.0009565753,0.0004543469,0.001264913],"domain_scores_gemma":[0.997613,0.0005136191,0.000360519,0.0007546343,0.0002532804,0.0005049141],"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":[0.0001909698,0.001348053,0.0007326207,0.000407436,0.0007405809,0.0004693764,0.01285852,0.00239595,0.00003523014,0.9332133,0.03858038,0.009027579],"study_design_scores_gemma":[0.0003938024,0.0003149031,0.001139324,0.0006582974,0.001352969,0.0001280418,0.001573514,0.001977016,0.00007101526,0.008361157,0.9830182,0.001011773],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.08779543,0.002682013,0.00009667632,0.04450443,0.001122797,0.00051566,0.0006937459,0.0003353142,0.8622539],"genre_scores_gemma":[0.7872606,0.01012286,0.0002705803,0.001226571,0.004364163,0.00009219864,0.000288608,0.0001348466,0.1962396],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.9444378,"threshold_uncertainty_score":0.9993328,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2168991984","doi":"10.7202/044275ar","title":"Zumanity : la spectacularisation de l’intime ou le pari impossible d’authenticité au Cirque1","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Concordia University","funders":"","keywords":"Humanities; Art; Cirque; Philosophy; Geography","authors":[{"name":"Louis Patrick Leroux","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01732015181756758,"gpt":0.2614439275358835,"spread":0.2441237757183159,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.001789545,0.0008717814,0.00105886,0.0002413637,0.002358201,0.0003712853,0.001170752,0.0009930592,0.000598705],"category_scores_gemma":[0.000701727,0.000831811,0.0008426613,0.000957847,0.002526895,0.001377142,0.000223944,0.001785096,0.000348282],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0008942028,"about_ca_system_score_gemma":0.002078476,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.03012533,"about_ca_topic_score_gemma":0.2448768,"domain_scores_codex":[0.994224,0.0009393736,0.001069376,0.00112369,0.0007765655,0.001867015],"domain_scores_gemma":[0.996758,0.0007588509,0.0005127487,0.0008060042,0.0003047877,0.0008596086],"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":[0.00009838112,0.001240312,0.00577509,0.0004775296,0.0003193445,0.0002271504,0.0986712,0.00003503911,0.001798053,0.8687492,0.01344812,0.009160585],"study_design_scores_gemma":[0.0003055314,0.0002342469,0.01375874,0.0003415966,0.0003434977,0.00008577659,0.001464889,0.0002309324,0.0002835073,0.008200603,0.9737166,0.001034137],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4952999,0.0009197607,0.0001334301,0.0485967,0.003412527,0.0007180383,0.0001471883,0.0004321348,0.4503403],"genre_scores_gemma":[0.7923318,0.000807933,0.001438326,0.000393319,0.002076726,0.00008308504,0.00004188406,0.0001010914,0.2027259],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9602684,"threshold_uncertainty_score":0.9994133,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2054230136","doi":"10.7202/041709ar","title":"Le personnage théâtral contemporain : symptôme d’un nouvel « ordre » dramaturgique","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Jean-Pierre Ryngaert","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01272747130576612,"gpt":0.2346101607091767,"spread":0.2218826894034105,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","research_integrity"],"category_scores_codex":[0.001724042,0.001696903,0.00209143,0.0003880176,0.003128168,0.0004902992,0.002313934,0.001711928,0.001108406],"category_scores_gemma":[0.0008152579,0.001763579,0.001607273,0.001662232,0.003930534,0.002237984,0.0003897967,0.003308297,0.0005423905],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004932422,"about_ca_system_score_gemma":0.002270034,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01113451,"about_ca_topic_score_gemma":0.1516707,"domain_scores_codex":[0.9908531,0.001103878,0.001805562,0.002089797,0.001259037,0.002888571],"domain_scores_gemma":[0.9945891,0.00102185,0.0008497436,0.001406322,0.0005625125,0.001570405],"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":[0.0002104448,0.00133061,0.000811444,0.0005980656,0.000523545,0.0006813413,0.09142991,0.00001406735,0.001284072,0.8531377,0.04304079,0.006937981],"study_design_scores_gemma":[0.00061065,0.0004511823,0.001251875,0.0007040068,0.0003244602,0.0001776473,0.005335571,0.00009216895,0.0001870424,0.0025737,0.9862178,0.002073915],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2529322,0.003231133,0.00005199657,0.1370139,0.008516666,0.001586333,0.0007744359,0.0008602077,0.5950332],"genre_scores_gemma":[0.6940488,0.001362766,0.001280406,0.001540231,0.003241848,0.0001842527,0.0001104971,0.0002013273,0.2980299],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.943177,"threshold_uncertainty_score":0.9998047,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2089891280","doi":"10.7202/041575ar","title":"La danse contemporaine, laboratoire d’une action nouvelle?","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"French Urban and Social Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Sophie Guhéry","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03546546509256965,"gpt":0.276804745437414,"spread":0.2413392803448444,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity"],"consensus_categories":["sts","research_integrity"],"category_scores_codex":[0.001511469,0.001109849,0.001346949,0.0002286015,0.002082816,0.0004340892,0.0012134,0.001570568,0.0007169414],"category_scores_gemma":[0.0008902625,0.001188615,0.0008256747,0.001959056,0.004672572,0.001389129,0.0001889747,0.002355791,0.0003768433],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006373912,"about_ca_system_score_gemma":0.001423289,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.0286307,"about_ca_topic_score_gemma":0.6805638,"domain_scores_codex":[0.9938914,0.0009449379,0.001178341,0.001264784,0.0009972685,0.001723293],"domain_scores_gemma":[0.9959337,0.0009913258,0.0006948425,0.000854867,0.0006429146,0.0008823152],"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":[0.000129098,0.0008375631,0.0007770293,0.0004660965,0.0004103396,0.0003272315,0.05958095,0.00001756612,0.001457722,0.7980176,0.1129234,0.02505544],"study_design_scores_gemma":[0.0004324489,0.0002423927,0.002657176,0.000463691,0.000294501,0.00005432476,0.01188426,0.00006509865,0.0001846795,0.002538208,0.9799071,0.001276108],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2350402,0.00453269,0.00003484561,0.08856844,0.009686275,0.00110792,0.0004065523,0.0006450851,0.659978],"genre_scores_gemma":[0.7924662,0.006385793,0.0005005575,0.0006991484,0.003422798,0.0001279894,0.00006167492,0.0001476452,0.1961882],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8669838,"threshold_uncertainty_score":0.9999458,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2170890264","doi":"10.7202/1031162ar","title":"Poétique de la mémoire fragmentée : fondement d’un répertoire des dramaturgies contemporaines d’Afrique noire francophone","year":2015,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Cultural Identity and Heritage","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Dominique Traoré","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0263164855346444,"gpt":0.2475728449800839,"spread":0.2212563594454395,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts"],"category_scores_codex":[0.001561253,0.001594955,0.001667386,0.0003378381,0.002137116,0.001826507,0.00132747,0.001136575,0.001324211],"category_scores_gemma":[0.0004540442,0.001553572,0.001069519,0.000412536,0.004236186,0.002545257,0.0004046602,0.001757839,0.0002862391],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0012763,"about_ca_system_score_gemma":0.001449993,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01464874,"about_ca_topic_score_gemma":0.1081497,"domain_scores_codex":[0.9930516,0.001101958,0.001676866,0.001303612,0.0008896502,0.001976277],"domain_scores_gemma":[0.9955627,0.000598964,0.0007036793,0.001026903,0.0008692825,0.001238463],"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":[0.0004938419,0.001331992,0.0007766343,0.002485391,0.0008296727,0.001521725,0.1922424,0.0002490628,0.001111093,0.6963132,0.09708455,0.005560459],"study_design_scores_gemma":[0.001108688,0.0006905784,0.001305916,0.003290096,0.0003803757,0.0005081983,0.03514732,0.0002264903,0.0007262287,0.01950745,0.9353068,0.001801851],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5431984,0.02789897,0.00009385624,0.05884138,0.00365356,0.001695294,0.0008298986,0.0009285714,0.3628601],"genre_scores_gemma":[0.7882278,0.004840131,0.0009079419,0.0009931572,0.003158329,0.0002835063,0.0001954537,0.0002445083,0.2011492],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8382223,"threshold_uncertainty_score":0.9996798,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1973077093","doi":"10.7202/045375ar","title":"Yvette Mercier-Gouin ou Le désir du théâtre","year":2011,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Military, Security, and Education Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Art; Humanities","authors":[{"name":"Lucie Robert","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05789129875718871,"gpt":0.2804004465103668,"spread":0.2225091477531781,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","insufficient_payload"],"category_scores_codex":[0.001851893,0.00146275,0.001681802,0.0004248868,0.002480959,0.0002330153,0.002141037,0.0009783586,0.001925981],"category_scores_gemma":[0.0006599928,0.001576325,0.001275002,0.00164092,0.003687443,0.001932403,0.0003991245,0.00121745,0.001148892],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000593085,"about_ca_system_score_gemma":0.001878344,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.03693394,"about_ca_topic_score_gemma":0.1928859,"domain_scores_codex":[0.991337,0.001193136,0.001753072,0.001900976,0.001161783,0.002654035],"domain_scores_gemma":[0.995186,0.0006209295,0.0007239582,0.001457542,0.0007613481,0.001250274],"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":[0.0001602601,0.001799389,0.003394861,0.0006226603,0.0005475955,0.0001660598,0.1010051,0.00001504339,0.00005146281,0.6909418,0.1958718,0.005424079],"study_design_scores_gemma":[0.0003808388,0.0003989075,0.01228517,0.0007180721,0.0005450667,0.00008336329,0.01646826,0.00004212674,0.0001892867,0.007177519,0.9600007,0.00171069],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1335717,0.02176731,0.00005522769,0.194593,0.009021294,0.001505808,0.0003474759,0.0007472705,0.6383909],"genre_scores_gemma":[0.7395211,0.01682097,0.001168758,0.00194147,0.003412097,0.0002310897,0.0000713324,0.0001987383,0.2366345],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.7641289,"threshold_uncertainty_score":0.9998122,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2026929601","doi":"10.7202/041714ar","title":"La fin de l’âge des pères? La réception du théâtre de Dumas fils, de Brieux et de Bernstein dans les salles « françaises » de Montréal de 1900 à 1918","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art","authors":[{"name":"Hervé Guay","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01445969180409061,"gpt":0.2553379253051679,"spread":0.2408782335010773,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity"],"consensus_categories":["sts","research_integrity"],"category_scores_codex":[0.003512722,0.001217172,0.00121443,0.0002725532,0.002434294,0.0004834961,0.00157818,0.001646198,0.00032143],"category_scores_gemma":[0.00200189,0.001273268,0.001002733,0.0008030253,0.003671413,0.00113811,0.0002948085,0.002319827,0.00006256781],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00244928,"about_ca_system_score_gemma":0.003340831,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.1596489,"about_ca_topic_score_gemma":0.7519723,"domain_scores_codex":[0.9908517,0.003056267,0.001114275,0.001183807,0.0007376537,0.003056299],"domain_scores_gemma":[0.9944248,0.002633417,0.0005143593,0.0007398801,0.0002524964,0.001435046],"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":[0.000432044,0.001637078,0.1349311,0.001014681,0.0004918096,0.001442309,0.4128977,0.001180039,0.009680718,0.3870198,0.0321172,0.01715546],"study_design_scores_gemma":[0.0004634254,0.0003088782,0.09998658,0.001032489,0.0004613788,0.0006689677,0.007378334,0.000549994,0.0004578506,0.003793486,0.8836534,0.001245193],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8546087,0.004930174,0.0009358536,0.02171312,0.0005813534,0.0005683915,0.0004429763,0.0005773369,0.1156421],"genre_scores_gemma":[0.9186973,0.01428887,0.009603657,0.001102783,0.002247511,0.0002477264,0.00006210378,0.0002153803,0.05353464],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8515362,"threshold_uncertainty_score":0.9999819,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2534628199","doi":"10.7202/1037338ar","title":"L’IRCAM et la voix augmentée au théâtre : les nouvelles technologies sonores au service de la dramaturgie","year":2016,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Music Technology and Sound Studies","field":"Computer Science","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Grégory Beller","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.0294538802079979,"gpt":0.2777412590982792,"spread":0.2482873788902813,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity"],"consensus_categories":["metaepi_narrow","sts"],"category_scores_codex":[0.002334407,0.001688797,0.001590248,0.0006540817,0.001561059,0.0006794458,0.004368171,0.00251655,0.00007205977],"category_scores_gemma":[0.001242324,0.001364504,0.0007950799,0.001381394,0.004288381,0.001834398,0.002097055,0.001877,0.0002111664],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001161043,"about_ca_system_score_gemma":0.003375174,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005177805,"about_ca_topic_score_gemma":0.1016647,"domain_scores_codex":[0.9915244,0.001457994,0.001242151,0.002144993,0.0007456311,0.00288482],"domain_scores_gemma":[0.992085,0.003837803,0.0007672108,0.002426655,0.0004460196,0.0004373469],"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":[0.0001466262,0.0007516635,0.006573738,0.0008871714,0.0007032689,0.0007623716,0.01596824,0.0000861295,0.001069207,0.8418267,0.02727586,0.103949],"study_design_scores_gemma":[0.0007346012,0.0003869957,0.01004455,0.003266988,0.0002651908,0.0009270424,0.002585624,0.0003281441,0.001620444,0.02680049,0.9513018,0.001738101],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.3195312,0.006163565,0.009842126,0.5182347,0.002275921,0.001323834,0.0005183337,0.005101416,0.1370089],"genre_scores_gemma":[0.932893,0.009441938,0.008328434,0.001073463,0.0004132227,0.000349858,0.00001788295,0.0001861164,0.04729609],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.924026,"threshold_uncertainty_score":0.9997388,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2890053104","doi":"10.7202/1050924ar","title":"Les résonances de l’intime par la rencontre corps-voix-texte chez l’interprète en danse","year":2018,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Translation Studies and Practices","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Manon Levac","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02253351378402197,"gpt":0.2699739939084114,"spread":0.2474404801243894,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts"],"category_scores_codex":[0.001465335,0.001297809,0.00137001,0.0002835193,0.002273187,0.001066673,0.001160469,0.0007033675,0.003794282],"category_scores_gemma":[0.0002003597,0.001259124,0.000896599,0.000288669,0.003959755,0.0017703,0.0002050501,0.001253528,0.0006925308],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000280499,"about_ca_system_score_gemma":0.0005309425,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01327687,"about_ca_topic_score_gemma":0.2370396,"domain_scores_codex":[0.9936491,0.001197499,0.001472354,0.001331398,0.0006062617,0.001743447],"domain_scores_gemma":[0.9952004,0.001963249,0.0008849649,0.0009243711,0.0005003269,0.0005266996],"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":[0.001133528,0.0009369733,0.00208616,0.001282011,0.001473577,0.000477432,0.1284632,0.00006476926,0.0003336986,0.7144639,0.06066055,0.08862411],"study_design_scores_gemma":[0.0006073638,0.0009045628,0.003969415,0.002045971,0.0009363997,0.0003018487,0.00387863,0.0003469632,0.0003361994,0.001995,0.983227,0.001450649],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.09976427,0.01756298,0.0001949351,0.07333285,0.00333461,0.001042201,0.001653765,0.0006579644,0.8024564],"genre_scores_gemma":[0.8658261,0.0117739,0.0008919745,0.0008842846,0.005297778,0.0001218606,0.00007430434,0.0002119743,0.1149179],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9225665,"threshold_uncertainty_score":0.9999774,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1981125512","doi":"10.7202/041633ar","title":"Un genre à part. Le théâtre dans les manuels d’histoire de la littérature québécoise, ou l’histoire d’un revirement spectaculaire","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Analyses","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","authors":[{"name":"Karine Cellard","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01306502849586679,"gpt":0.2172465169372032,"spread":0.2041814884413364,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","research_integrity"],"category_scores_codex":[0.001118687,0.002354487,0.002232175,0.0005114245,0.00651178,0.001091097,0.002295372,0.001713837,0.002901086],"category_scores_gemma":[0.0003041057,0.002304075,0.00226719,0.0007275672,0.004902178,0.001585554,0.0003622235,0.004094379,0.0002497919],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0009613723,"about_ca_system_score_gemma":0.001233465,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01505074,"about_ca_topic_score_gemma":0.1534247,"domain_scores_codex":[0.990334,0.001271144,0.002353227,0.002350912,0.001143406,0.00254726],"domain_scores_gemma":[0.9939668,0.0006521651,0.001139262,0.002248313,0.0005317815,0.00146168],"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":[0.0003198838,0.002570046,0.001025399,0.001969419,0.0009274987,0.002186234,0.02374162,0.00008065047,0.002723678,0.8626323,0.06010919,0.04171405],"study_design_scores_gemma":[0.0007034171,0.0004586756,0.002216958,0.001852314,0.001436924,0.0007700105,0.003010829,0.000125466,0.0007763637,0.003078896,0.982949,0.002621115],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.07763471,0.04817957,0.00005863073,0.06676798,0.006250293,0.001425125,0.002011065,0.001065312,0.7966073],"genre_scores_gemma":[0.4809279,0.005652156,0.0009417337,0.001023782,0.005592875,0.0002583386,0.0004697194,0.00040985,0.5047236],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.9228398,"threshold_uncertainty_score":0.9999459,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1897204143","doi":"10.7202/041431ar","title":"Dictionnaire du théâtre, Paris, Encyclopaedia Universalis/Albin Michel, 1998","year":2000,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Analyses","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université Laval","funders":"","keywords":"Encyclopedia; Art; Humanities; Philosophy; Linguistics","authors":[{"name":"Jenny Landry","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01209517364364519,"gpt":0.203460840040244,"spread":0.1913656663965988,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.0004567673,0.001604615,0.001616107,0.0004609823,0.002294928,0.0006894682,0.001346431,0.000775517,0.01251692],"category_scores_gemma":[0.00008088651,0.001603665,0.001553928,0.0006315127,0.001965779,0.002502221,0.0001426003,0.001421365,0.002685623],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007322822,"about_ca_system_score_gemma":0.0005066327,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01127062,"about_ca_topic_score_gemma":0.03463819,"domain_scores_codex":[0.9931481,0.0006483144,0.001769308,0.001695464,0.0008241757,0.001914665],"domain_scores_gemma":[0.9964067,0.0005006533,0.0005214359,0.001250663,0.0002745805,0.001045949],"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":[0.0004872777,0.001788958,0.0006937501,0.0007766348,0.0007729128,0.0007850517,0.02615145,0.0003415014,0.00003283645,0.476108,0.4735618,0.01849987],"study_design_scores_gemma":[0.0005460657,0.000750481,0.0006301473,0.001384387,0.001124682,0.0002026643,0.001096949,0.0003831215,0.00003310718,0.001039932,0.9909451,0.001863372],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.05409217,0.02557461,0.00002916738,0.05635782,0.005020921,0.001064093,0.001690001,0.001091669,0.8550795],"genre_scores_gemma":[0.3249817,0.017212,0.0001597075,0.001400605,0.005583946,0.00008067804,0.0004581473,0.0002083303,0.6499149],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.5173833,"threshold_uncertainty_score":0.9996701,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2122073406","doi":"10.7202/045370ar","title":"Le corp(u)s théâtral des femmes","year":2011,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","authors":[{"name":"Jane Moss","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.3091433083400348,"gpt":0.3909711716774967,"spread":0.08182786333746195,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.003048608,0.001065687,0.001167048,0.0003299763,0.002335103,0.0002135758,0.001731911,0.001068776,0.0009196821],"category_scores_gemma":[0.001125963,0.001224599,0.0009386192,0.001217227,0.009473679,0.001880219,0.0001575701,0.001126275,0.0004322123],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004428383,"about_ca_system_score_gemma":0.002985378,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01080511,"about_ca_topic_score_gemma":0.08051112,"domain_scores_codex":[0.9923926,0.001785973,0.001398114,0.001432157,0.0007163954,0.002274735],"domain_scores_gemma":[0.9951761,0.001533291,0.0007515178,0.0009205314,0.0006620431,0.0009564727],"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":[0.00006304555,0.001170125,0.007338895,0.0004170355,0.0003762383,0.00004703761,0.1088744,0.00002086288,0.0001063883,0.86317,0.01170173,0.006714272],"study_design_scores_gemma":[0.0003779471,0.0004770711,0.02780115,0.0008991199,0.0004081535,0.0001180753,0.04766231,0.00002807157,0.0002369511,0.02822279,0.8922135,0.001554886],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.243298,0.003812111,0.0001530515,0.05997087,0.007044377,0.001024699,0.0002084436,0.0006211423,0.6838673],"genre_scores_gemma":[0.8783964,0.006099017,0.007017002,0.001053811,0.004734864,0.0002014413,0.0001193525,0.0001827225,0.1021954],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8805118,"threshold_uncertainty_score":0.9999936,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2051346392","doi":"10.7202/041546ar","title":"L’Histoire de l’autre : la guerre civile libanaise dans Littoral de Wajdi Mouawad et Le collier d’Hélène de Carole Fréchette","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Middle East Politics and Society","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Lucie Picard","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01301422185497856,"gpt":0.2591919454594608,"spread":0.2461777236044822,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity"],"consensus_categories":["sts","research_integrity"],"category_scores_codex":[0.003542527,0.001196112,0.001270969,0.0001899746,0.002091128,0.0005800676,0.002257428,0.001970436,0.0004225762],"category_scores_gemma":[0.0008811674,0.001394271,0.001369022,0.0009088986,0.003652175,0.001036307,0.0003662466,0.002905947,0.0001080526],"about_ca_system_candidate":true,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001879622,"about_ca_system_score_gemma":0.0070793,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.04937464,"about_ca_topic_score_gemma":0.4225013,"domain_scores_codex":[0.9913957,0.00157138,0.001146378,0.001383934,0.001045925,0.003456713],"domain_scores_gemma":[0.9948781,0.0006989431,0.0005751848,0.001340629,0.0004531363,0.002054039],"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":[0.00007838442,0.001280465,0.006164996,0.0005895693,0.0003086307,0.000455645,0.09422798,0.0005522058,0.005404198,0.8564846,0.03065753,0.00379583],"study_design_scores_gemma":[0.0005993675,0.0001951952,0.008984461,0.0006403615,0.0004248211,0.0002685497,0.009248929,0.00189411,0.0007322232,0.006389211,0.9690838,0.001538985],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5408646,0.00150261,0.000230213,0.09045614,0.002020174,0.0007892153,0.0007718622,0.000491223,0.3628739],"genre_scores_gemma":[0.8305965,0.001241058,0.002486539,0.002054749,0.002002939,0.0001717567,0.00007772414,0.0002470476,0.1611217],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9384263,"threshold_uncertainty_score":0.9993944,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2077278529","doi":"10.7202/1017322ar","title":"Pour une ouverture aux recherches créations en théâtre","year":2011,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Analyses","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Canadian Association for Theatre Research; Université du Québec à Chicoutimi","funders":"","keywords":"Physics; Humanities; Philosophy","authors":[{"name":"Jean-Paul Quéinnec","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1236236468954559,"gpt":0.2848499176866801,"spread":0.1612262707912242,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["metaepi_narrow","insufficient_payload"],"category_scores_codex":[0.0006444249,0.00138245,0.00143066,0.0004781958,0.001611575,0.00040436,0.001457918,0.0009676349,0.006734292],"category_scores_gemma":[0.000465234,0.001299819,0.001348269,0.0006265278,0.001385629,0.001875333,0.0002156269,0.001741411,0.001113675],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000788896,"about_ca_system_score_gemma":0.001016715,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.02101447,"about_ca_topic_score_gemma":0.09256885,"domain_scores_codex":[0.9939878,0.0008986593,0.001569459,0.001389268,0.000587009,0.00156783],"domain_scores_gemma":[0.9958603,0.001018901,0.0005703031,0.001236239,0.0005038344,0.0008104075],"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":[0.0002137189,0.00143098,0.0003066676,0.0007504022,0.0006332075,0.0003619556,0.06851962,0.00003210246,0.00008321856,0.7524603,0.1699215,0.005286283],"study_design_scores_gemma":[0.0002997083,0.0005656802,0.001639997,0.001163666,0.001052968,0.0001154015,0.003124918,0.000166416,0.0001672982,0.01570262,0.9744347,0.001566638],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.0123974,0.006854859,0.0001667448,0.08587697,0.003176697,0.0008466693,0.001118628,0.0007338042,0.8888282],"genre_scores_gemma":[0.2832496,0.00218264,0.001592708,0.001295618,0.003151332,0.0001243951,0.000198034,0.0002031229,0.7080026],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.8045132,"threshold_uncertainty_score":0.9998926,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2148127926","doi":"10.7202/041594ar","title":"L’École de l’Arena Goldoni, ou la difficile invention d’un laboratoire","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Theatre and Performance Studies","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Jean-Manuel Warnet","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.012616337752175,"gpt":0.229464470215719,"spread":0.216848132463544,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008313813,0.00115874,0.001099385,0.000323492,0.001973978,0.0007860608,0.00094317,0.0007798243,0.0018813],"category_scores_gemma":[0.0001481696,0.001148987,0.000796064,0.0003453883,0.001991379,0.001239977,0.0002485837,0.00197804,0.000451193],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002026741,"about_ca_system_score_gemma":0.0005791478,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00250739,"about_ca_topic_score_gemma":0.153522,"domain_scores_codex":[0.995243,0.0003423778,0.001121861,0.001009303,0.0005313408,0.001752082],"domain_scores_gemma":[0.9970606,0.000425497,0.0004951122,0.001040886,0.0004228633,0.000555033],"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":[0.0002101477,0.001134878,0.001651055,0.001273809,0.0005425107,0.0001967512,0.02073816,0.0001888251,0.001366509,0.9071695,0.03922352,0.02630432],"study_design_scores_gemma":[0.0005030749,0.0004450938,0.002168585,0.001053645,0.0005479288,0.000200949,0.002323541,0.0004574227,0.0008679518,0.003948729,0.9861538,0.001329298],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.4335631,0.004341132,0.00002432291,0.03285523,0.00524173,0.0008553879,0.001191243,0.0006305314,0.5212973],"genre_scores_gemma":[0.8306889,0.003852154,0.0003030282,0.0007462691,0.004550743,0.0001840886,0.0001454511,0.0002101014,0.1593193],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9469303,"threshold_uncertainty_score":0.9993253,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2278123867","doi":"10.7202/1031154ar","title":"L’impermanence est-elle soluble dans le répertoire?","year":2015,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Analyses","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Frédéric Maurin","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03818531822091956,"gpt":0.2372998170969731,"spread":0.1991144988760536,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006511215,0.001217292,0.001387719,0.0003256371,0.001779982,0.0006939428,0.001435651,0.000524991,0.001117312],"category_scores_gemma":[0.0001713014,0.001192414,0.0009622707,0.0004216591,0.00209586,0.00230929,0.000286202,0.001029647,0.001219509],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006763384,"about_ca_system_score_gemma":0.001241377,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.02147009,"about_ca_topic_score_gemma":0.06443626,"domain_scores_codex":[0.9941164,0.000501371,0.001434762,0.001361543,0.0008254937,0.001760414],"domain_scores_gemma":[0.9961109,0.0003206499,0.0004740169,0.001201689,0.0005075717,0.001385224],"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":[0.0002126703,0.001296084,0.0002139522,0.0006877881,0.0003171903,0.0006290415,0.05514607,0.0004707338,0.0001834267,0.7090548,0.2287985,0.002989724],"study_design_scores_gemma":[0.000478578,0.0007217601,0.00007815,0.0008540261,0.0004499136,0.0002485848,0.004720793,0.001221484,0.0002201025,0.002494436,0.9869814,0.00153076],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.03215413,0.01847012,0.000155481,0.05697949,0.006079238,0.0008032559,0.0005568329,0.0006910362,0.8841104],"genre_scores_gemma":[0.424171,0.001151327,0.0003327389,0.0007948978,0.002780083,0.00008503154,0.0001640963,0.0001531543,0.5703677],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.7581829,"threshold_uncertainty_score":0.9997958,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2122085362","doi":"10.7202/045372ar","title":"Inventaire après liquidation : étude de la réception des Fées ont soif de Denise Boucher (1978)","year":2011,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Yves Jubinville","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.219329859393874,"gpt":0.3905970199861533,"spread":0.1712671605922793,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":["sts"],"category_scores_codex":[0.004834746,0.0007439452,0.0006918139,0.000269723,0.001499819,0.0002265095,0.000930911,0.001144691,0.000739344],"category_scores_gemma":[0.00143509,0.000857999,0.0005799191,0.0007402748,0.005246237,0.001504882,0.000101511,0.0009472141,0.0001698423],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001360488,"about_ca_system_score_gemma":0.002180797,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.00891153,"about_ca_topic_score_gemma":0.06181734,"domain_scores_codex":[0.9928623,0.00304141,0.0009994676,0.0009442864,0.0005295267,0.001622938],"domain_scores_gemma":[0.9962858,0.001378064,0.0006061176,0.0005610462,0.0004292713,0.0007397344],"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":[0.00009613505,0.001117586,0.03217444,0.0004496789,0.0002880579,0.00003517559,0.3185081,0.00009566275,0.0009589882,0.6337841,0.004247179,0.008244863],"study_design_scores_gemma":[0.0007007611,0.0008353354,0.1883316,0.002251644,0.001044279,0.0002386512,0.1271867,0.0002744828,0.001649855,0.07394716,0.6012732,0.002266344],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.8259451,0.001924896,0.0006082488,0.02030452,0.00184953,0.0007602694,0.00006944824,0.0003915217,0.1481465],"genre_scores_gemma":[0.9629384,0.00593418,0.007950366,0.0009048176,0.003360398,0.0002829344,0.0001134222,0.0001169334,0.01839854],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.597026,"threshold_uncertainty_score":0.9998001,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2148728513","doi":"10.7202/044274ar","title":"Le goût du risque : KÀ de Robert Lepage et du Cirque du Soleil","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Spatial and Cultural Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Karen Fricker","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01194223362314816,"gpt":0.2439762942676865,"spread":0.2320340606445384,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":["sts"],"category_scores_codex":[0.001725297,0.001243696,0.001390649,0.0001589017,0.003137658,0.0006643955,0.001780948,0.001112087,0.0007746673],"category_scores_gemma":[0.00118994,0.001205498,0.001130709,0.0009412686,0.003208474,0.001671476,0.0004519346,0.001823994,0.0004118657],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0004998507,"about_ca_system_score_gemma":0.001848155,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.09991486,"about_ca_topic_score_gemma":0.7973686,"domain_scores_codex":[0.9933795,0.0009185268,0.001192213,0.001401107,0.0008636613,0.002244954],"domain_scores_gemma":[0.9962581,0.0007227965,0.0006186499,0.0008024529,0.0005880311,0.00100992],"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":[0.0001510086,0.001200157,0.007465206,0.0003436559,0.0004681402,0.0004401706,0.04629868,0.0002343283,0.004778119,0.8748444,0.05519973,0.008576373],"study_design_scores_gemma":[0.0004856362,0.0003057509,0.01334177,0.0004514705,0.0003461301,0.0002055899,0.003744857,0.0002420866,0.001034735,0.003522292,0.9747779,0.001541814],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4112292,0.00174941,0.00007963088,0.2660308,0.003747609,0.0008834836,0.0001848,0.0004969906,0.3155981],"genre_scores_gemma":[0.940091,0.008459754,0.0006351828,0.002584961,0.004845835,0.0001559268,0.00006333397,0.0001636606,0.04300041],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9195781,"threshold_uncertainty_score":0.9995042,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1979955492","doi":"10.7202/041436ar","title":"La geste de Fem’Touloulou dans le carnaval créole de la Guyane française : un théâtre caché-montré","year":2000,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Migration, Identity, and Health","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Art; Humanities","authors":[{"name":"Odile Pedro Léal","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01147927843156406,"gpt":0.2697960688810874,"spread":0.2583167904495234,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["sts"],"category_scores_codex":[0.003713689,0.001239193,0.00146713,0.0003059402,0.003152026,0.0007083822,0.001846889,0.001780869,0.001700576],"category_scores_gemma":[0.0003689154,0.001420954,0.001045803,0.001264729,0.003224668,0.001477013,0.0001422515,0.001989275,0.0003665914],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001461774,"about_ca_system_score_gemma":0.004789318,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.1759678,"about_ca_topic_score_gemma":0.6635326,"domain_scores_codex":[0.9892057,0.003682526,0.001552564,0.00151819,0.00116184,0.002879151],"domain_scores_gemma":[0.9951529,0.001099015,0.0005856625,0.001206578,0.0002941784,0.001661696],"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":[0.0005847068,0.003311864,0.05197117,0.002431805,0.000647929,0.001825399,0.2218972,0.003036396,0.0008753685,0.6022251,0.06764685,0.04354624],"study_design_scores_gemma":[0.0007858141,0.0003311962,0.07923156,0.0008587803,0.0006300781,0.0005126442,0.004932601,0.0004645311,0.0002137754,0.006537003,0.9040512,0.001450751],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6541837,0.006250826,0.00008248875,0.03075949,0.0007369778,0.0009107576,0.0002939807,0.0005050693,0.3062767],"genre_scores_gemma":[0.7931441,0.02567663,0.0007624372,0.0009116317,0.001978758,0.0001317202,0.00008634499,0.000217147,0.1770912],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8364044,"threshold_uncertainty_score":0.9995151,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2008951741","doi":"10.7202/041501ar","title":"La dramaturgie du cirque contemporain français : quelques pistes théâtrales","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Cirque; Art; Geography","authors":[{"name":"Ariane Martinez","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.06971634669441518,"gpt":0.3621286764606843,"spread":0.2924123297662691,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","research_integrity"],"category_scores_codex":[0.006216365,0.001331406,0.001489161,0.0004021428,0.001931416,0.0006033463,0.001984508,0.002107604,0.001029242],"category_scores_gemma":[0.003637073,0.001443072,0.00108928,0.001086122,0.009129287,0.001821407,0.0001687962,0.00286631,0.0003339822],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0003528478,"about_ca_system_score_gemma":0.002612012,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.007759763,"about_ca_topic_score_gemma":0.1108856,"domain_scores_codex":[0.9908466,0.002856622,0.001700465,0.001657583,0.0009443429,0.001994326],"domain_scores_gemma":[0.9890559,0.006986874,0.0009559951,0.001162719,0.0008173863,0.001021163],"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":[0.0000525049,0.0008773325,0.00927838,0.0005284674,0.0003812576,0.00008860191,0.0781697,0.00002124446,0.0007930886,0.8790289,0.02397965,0.006800917],"study_design_scores_gemma":[0.0003851389,0.0002188308,0.01240906,0.0009050005,0.0002497701,0.0001822637,0.01989688,0.00006052299,0.0001495827,0.0100325,0.9539731,0.001537388],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3163128,0.003062184,0.00007160963,0.182316,0.01008973,0.001229727,0.0003721468,0.0007860325,0.4857599],"genre_scores_gemma":[0.9312402,0.006864042,0.003522757,0.001772911,0.009598106,0.000307077,0.000253632,0.0002332636,0.04620804],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9299934,"threshold_uncertainty_score":0.9999437,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1989760787","doi":"10.7202/041542ar","title":"Éléments d’analyse du paratexte théâtral : le cas du programme de théâtre","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","authors":[{"name":"Gilbert David","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02216586263924326,"gpt":0.2615286056832436,"spread":0.2393627430440003,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","research_integrity"],"category_scores_codex":[0.00222455,0.001694719,0.00192982,0.0003755373,0.003505944,0.0005945376,0.002233627,0.001315061,0.0009418188],"category_scores_gemma":[0.0008996676,0.001686768,0.001629906,0.001808426,0.003325956,0.002070783,0.0004237164,0.002405849,0.0005488973],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001229782,"about_ca_system_score_gemma":0.002495184,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01638349,"about_ca_topic_score_gemma":0.2315332,"domain_scores_codex":[0.9896356,0.001095757,0.001830738,0.002011953,0.001295602,0.004130327],"domain_scores_gemma":[0.9942636,0.0007784918,0.0008596971,0.001307071,0.000604113,0.00218697],"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":[0.0003618553,0.003225503,0.0158648,0.0005824817,0.0009436489,0.001299906,0.07340673,0.0001340471,0.001035531,0.7614121,0.1264379,0.01529539],"study_design_scores_gemma":[0.0006054014,0.0005055088,0.007291084,0.0003852657,0.0006486055,0.0002739359,0.002179681,0.0002969787,0.0002632031,0.002645344,0.9830285,0.001876473],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.4663297,0.001888706,0.00007729053,0.1720551,0.00584467,0.001535845,0.000320952,0.0007635198,0.3511843],"genre_scores_gemma":[0.7198362,0.002926372,0.001347368,0.001819738,0.004519814,0.0003136438,0.00008567072,0.0002002704,0.2689509],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8565906,"threshold_uncertainty_score":0.9999815,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1486878526","doi":"10.7202/1009313ar","title":"CHÉNETIER-ALEV, Marion, L’oralité dans le théâtre contemporain : Herbert Achternbusch, Pierre Guyotat, Valère Novarina, Jon Fosse, Daniel Danis, Sarah Kane, Saarbrücken, Allemagne, Éditions universitaires européennes, 2010, 576 p.","year":2011,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Analyses","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art; Mathematics","authors":[{"name":"Marie-Christine Busque","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03557367938957456,"gpt":0.212667468883366,"spread":0.1770937894937914,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts"],"category_scores_codex":[0.0008109648,0.002350948,0.002344442,0.0007418221,0.003669407,0.0007455438,0.002590823,0.001225326,0.00454211],"category_scores_gemma":[0.0001629673,0.002429085,0.001833123,0.0008420915,0.003250276,0.003653567,0.0006222069,0.002330663,0.0005115443],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006889488,"about_ca_system_score_gemma":0.0009915897,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.06623492,"about_ca_topic_score_gemma":0.1538724,"domain_scores_codex":[0.9901642,0.001279385,0.002528254,0.002467528,0.001069879,0.002490785],"domain_scores_gemma":[0.9938235,0.0004932865,0.001258245,0.002214274,0.0008445152,0.001366154],"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":[0.0005585113,0.002641584,0.0007332921,0.001178519,0.001089821,0.001845711,0.02740644,0.00004473601,0.0003334877,0.5900562,0.3723066,0.001805087],"study_design_scores_gemma":[0.0009954156,0.001480832,0.00415546,0.001776427,0.001408452,0.0003883661,0.007415522,0.0001610561,0.0001680543,0.002628556,0.9766501,0.002771797],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"other","genre_scores_codex":[0.03618238,0.01754841,0.0002815154,0.05059953,0.005454645,0.002202015,0.005159941,0.001213284,0.8813583],"genre_scores_gemma":[0.1978557,0.004089826,0.001062955,0.001030987,0.002009259,0.0001285475,0.001400388,0.0003910479,0.7920313],"genre_candidate":"other","genre_consensus":"other","teacher_disagreement_score":0.6043434,"threshold_uncertainty_score":0.999971,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2534682021","doi":"10.7202/1037335ar","title":"Dispositifs sonores et écoute performative : le cas de l’Autoteatro par la compagnie Rotozaza","year":2016,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"French Urban and Social Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"Università degli Studi di Firenze","keywords":"Art; Humanities","authors":[{"name":"Anyssa Kapelusz","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02525942059434091,"gpt":0.2681876251125199,"spread":0.242928204518179,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":["sts"],"category_scores_codex":[0.002015042,0.001109895,0.001412692,0.0001987443,0.002342735,0.0004008416,0.001273108,0.0008110268,0.0002894341],"category_scores_gemma":[0.0006582168,0.0009450719,0.001020118,0.0006971117,0.005207388,0.001882813,0.0003065316,0.001044505,0.0002708261],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.002230685,"about_ca_system_score_gemma":0.002046293,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.03221903,"about_ca_topic_score_gemma":0.2768036,"domain_scores_codex":[0.992443,0.002194702,0.001128926,0.001072108,0.0008600224,0.002301218],"domain_scores_gemma":[0.9955419,0.001915273,0.0006106548,0.0006648996,0.0003662998,0.0009009425],"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":[0.0001501365,0.0006521293,0.003258392,0.0003455062,0.0005912221,0.000228508,0.09723362,0.00007539256,0.0003926819,0.8271215,0.05180029,0.01815062],"study_design_scores_gemma":[0.0006636624,0.0003750844,0.01937678,0.001614684,0.000352587,0.00006391751,0.005297889,0.00009310147,0.0004781789,0.009910029,0.9604101,0.001363983],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1708886,0.01082143,0.0006337788,0.2235506,0.002391357,0.001740631,0.001080292,0.0007524099,0.588141],"genre_scores_gemma":[0.8969503,0.01348854,0.000821815,0.0009590215,0.001383403,0.0002475551,0.00003163892,0.0001376167,0.0859801],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9086098,"threshold_uncertainty_score":0.9993,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2077030433","doi":"10.7202/041673ar","title":"Sade et Espace Libre","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Psychoanalysis and Psychopathology Research","field":"Psychology","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art; ESPACE; Philosophy","authors":[{"name":"Hervé Guay","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02826001488411858,"gpt":0.3458020439317602,"spread":0.3175420290476416,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"category_scores_codex":[0.00330541,0.001776053,0.002120345,0.0009526911,0.0006873326,0.0005966382,0.0030906,0.002572616,0.00778605],"category_scores_gemma":[0.0004560591,0.001860463,0.00179216,0.001891233,0.002199135,0.001068517,0.0003950267,0.006366191,0.004376316],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0001753996,"about_ca_system_score_gemma":0.000876024,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.0009147899,"about_ca_topic_score_gemma":0.05415221,"domain_scores_codex":[0.9885507,0.002192836,0.001899685,0.002939885,0.001028363,0.003388552],"domain_scores_gemma":[0.9918041,0.001379577,0.0008227567,0.003856983,0.0004923877,0.001644151],"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":[0.001521596,0.003736013,0.008989388,0.0007741158,0.001714686,0.002108025,0.01290869,0.00006345686,0.01170978,0.4934815,0.4162064,0.04678635],"study_design_scores_gemma":[0.001114369,0.0007801256,0.03138218,0.0005978661,0.0006591679,0.001824381,0.000677383,0.000113234,0.0002246802,0.001642186,0.9591978,0.001786674],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1918892,0.004090019,0.0001054871,0.1767571,0.009682901,0.001232951,0.0006824243,0.0005365228,0.6150234],"genre_scores_gemma":[0.5390742,0.002567518,0.001396345,0.003123645,0.002557233,0.0002592248,0.0001933281,0.0003606577,0.4504679],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.5429913,"threshold_uncertainty_score":0.9994985,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2094347752","doi":"10.7202/041502ar","title":"Quelques rapports entre le théâtre et le cirque au Québec","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"French Urban and Social Studies","field":"Social Sciences","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Canadian Research Institute for the Advancement of Women","funders":"","keywords":"Cirque; Humanities; Art; Geography","authors":[{"name":"Julie Boudreault","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02236861275366869,"gpt":0.2515392632527972,"spread":0.2291706504991285,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity"],"consensus_categories":["metaepi_narrow","sts","research_integrity"],"category_scores_codex":[0.001828852,0.001458888,0.001774319,0.0002936638,0.003057119,0.0004944378,0.001736044,0.001395707,0.0006995669],"category_scores_gemma":[0.0008372563,0.001591928,0.001409,0.001127245,0.00463584,0.001895733,0.0003894383,0.002320054,0.0003181386],"about_ca_system_candidate":true,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001262122,"about_ca_system_score_gemma":0.01428973,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.7198302,"about_ca_topic_score_gemma":0.9887505,"domain_scores_codex":[0.9919403,0.001060454,0.001526001,0.001716074,0.001133282,0.002623951],"domain_scores_gemma":[0.9954479,0.0007470991,0.0008568019,0.001170409,0.0005478499,0.001229992],"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":[0.0000678533,0.001250355,0.002074763,0.0003880232,0.0004732931,0.0002835283,0.05208792,0.00004335012,0.0004753981,0.8518907,0.07991853,0.01104629],"study_design_scores_gemma":[0.0004840436,0.0002390093,0.005335977,0.0005684668,0.0002923274,0.00006586332,0.008671407,0.0000438564,0.0002889152,0.005482592,0.976808,0.001719573],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1375233,0.007698094,0.0000523638,0.2191956,0.00682052,0.00125437,0.0002525236,0.0007913854,0.6264119],"genre_scores_gemma":[0.7382883,0.003895932,0.0006795686,0.001826674,0.002988994,0.0001668039,0.00007204578,0.000194562,0.2518871],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.8968894,"threshold_uncertainty_score":0.9999816,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2090193467","doi":"10.7202/041603ar","title":"Interfaces et interférences dans la communication théâtrale moderne. De l’espace vide… et son archétype beckettien","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Samuel Beckett and Modernism","field":"Arts and Humanities","cited_by":2,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art","authors":[{"name":"Liviu Dospinescu","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03851430342155332,"gpt":0.2872504493531557,"spread":0.2487361459316024,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","scholarly_communication","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.002184988,0.001364035,0.0012119,0.0004293319,0.001132528,0.001589281,0.002402865,0.0009011354,0.001135996],"category_scores_gemma":[0.0004477789,0.001382135,0.0007517211,0.0001979129,0.003463616,0.002223577,0.0005814204,0.003226707,0.0002302416],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0002811765,"about_ca_system_score_gemma":0.00100782,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01071348,"about_ca_topic_score_gemma":0.5145566,"domain_scores_codex":[0.9935645,0.001441566,0.00130921,0.001314274,0.0006763536,0.001694056],"domain_scores_gemma":[0.9947382,0.00161265,0.000763234,0.00180802,0.0004303331,0.0006476231],"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":[0.0003432579,0.000902498,0.001065208,0.0006394928,0.0003813356,0.0001027489,0.1675135,0.0003250222,0.004534726,0.8014416,0.01853875,0.004211858],"study_design_scores_gemma":[0.0004734852,0.0004996835,0.002772563,0.002126084,0.0004752796,0.0003609883,0.009260663,0.001977467,0.003274472,0.008547432,0.968601,0.001630847],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5803868,0.002344033,0.0003712688,0.05968034,0.00174421,0.0008416484,0.000544549,0.000571134,0.353516],"genre_scores_gemma":[0.8791214,0.004523434,0.002247771,0.001453543,0.0007566003,0.0002072945,0.0002269927,0.0002717861,0.1111911],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.9500623,"threshold_uncertainty_score":0.9999111,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2071180302","doi":"10.7202/041655ar","title":"Le théâtre irlandais à Toronto et à Montréal : du cliché identitaire à l’appropriation artistique","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Military, Security, and Education Studies","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"University of Ottawa","funders":"","keywords":"Art; Humanities; Appropriation; Art history; Philosophy","authors":[{"name":"Lisa Fitzpatrick","is_ca":false},{"name":"Joël Beddows","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01478612194108588,"gpt":0.2762655331006043,"spread":0.2614794111595184,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.00215318,0.001080943,0.001252801,0.0001780544,0.002183117,0.0004713598,0.001220092,0.001040159,0.0008771106],"category_scores_gemma":[0.001163527,0.00118752,0.0008574817,0.0006900331,0.001684598,0.002946234,0.0002897382,0.001346088,0.0003452883],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005628343,"about_ca_system_score_gemma":0.002197054,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.2239399,"about_ca_topic_score_gemma":0.9603187,"domain_scores_codex":[0.9932014,0.0009618404,0.001508925,0.001504276,0.001084683,0.001738851],"domain_scores_gemma":[0.995722,0.0006677337,0.000703285,0.001161275,0.0008258272,0.0009199107],"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":[0.0001127111,0.001165006,0.003308758,0.000435241,0.0003079431,0.00005783881,0.05230916,0.00004525853,0.0003119126,0.8304171,0.1074255,0.004103536],"study_design_scores_gemma":[0.000397392,0.0002414718,0.01962828,0.0003662301,0.000330399,0.00007570881,0.01673964,0.000131441,0.00008035375,0.005822783,0.9549258,0.001260545],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2339696,0.01530354,0.0001391281,0.3184815,0.01140928,0.00169697,0.0004252584,0.0006695173,0.4179051],"genre_scores_gemma":[0.8806555,0.01602932,0.0009523965,0.001251934,0.004112381,0.0002707377,0.0001714521,0.0001529499,0.09640334],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8475003,"threshold_uncertainty_score":0.9991159,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2015572883","doi":"10.7202/041672ar","title":"Ceci est mon corps ou L’exécution du testament du marquis de Sade","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Psychoanalysis and Psychopathology Research","field":"Psychology","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"","funders":"","keywords":"Art; Humanities","authors":[{"name":"Jean-Marie Apostolidès","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02221261305656073,"gpt":0.3083755774821787,"spread":0.2861629644256179,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"category_scores_codex":[0.003642854,0.001730539,0.001944282,0.0009552756,0.0009940179,0.0004959085,0.002528057,0.002297247,0.00479602],"category_scores_gemma":[0.000619301,0.001837422,0.001581236,0.001558046,0.00211093,0.0007381113,0.0003254986,0.004182272,0.002390699],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0006235403,"about_ca_system_score_gemma":0.0008047577,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002601344,"about_ca_topic_score_gemma":0.04429128,"domain_scores_codex":[0.9887058,0.001832006,0.002142412,0.002680624,0.001062672,0.003576457],"domain_scores_gemma":[0.9924343,0.001247688,0.0009833804,0.003011082,0.0006330719,0.001690529],"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":[0.003012916,0.01006215,0.1509856,0.001253362,0.002648496,0.006005621,0.01794904,0.0002849557,0.03165191,0.3189804,0.3789565,0.07820899],"study_design_scores_gemma":[0.001378713,0.001094883,0.1067274,0.000562299,0.0008919211,0.003317357,0.0006778865,0.0005936234,0.0003701928,0.001748807,0.8809792,0.001657649],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.5653399,0.002024099,0.0002877458,0.1087536,0.007446388,0.001539282,0.0006726992,0.0004588616,0.3134774],"genre_scores_gemma":[0.874194,0.005118973,0.001318377,0.001941925,0.004695357,0.0004822985,0.0003055468,0.000347238,0.1115962],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.5020228,"threshold_uncertainty_score":0.9995441,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2040327957","doi":"10.7202/041670ar","title":"La prose dramatique de Sade : Ce « dangereux supplément »?","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Art; Humanities; Philosophy","authors":[{"name":"John Phillips","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01550661768040132,"gpt":0.2690285084914901,"spread":0.2535218908110887,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001612672,0.000978719,0.00111433,0.0002058997,0.001292341,0.0003144593,0.001409883,0.001151623,0.001156314],"category_scores_gemma":[0.0005520718,0.0009757988,0.0007236949,0.0009296154,0.002482492,0.001105928,0.0002701557,0.002242781,0.0003328788],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007986142,"about_ca_system_score_gemma":0.00117777,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.005983414,"about_ca_topic_score_gemma":0.06778092,"domain_scores_codex":[0.9938377,0.001083184,0.00109447,0.00117027,0.0008180507,0.00199637],"domain_scores_gemma":[0.9962877,0.001047403,0.000453615,0.0008913227,0.000260886,0.00105907],"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":[0.0001230565,0.001364871,0.002278978,0.0009313744,0.0003716742,0.0004074095,0.4488127,0.00002784289,0.001745315,0.4560294,0.06734994,0.02055743],"study_design_scores_gemma":[0.0002459404,0.0002851042,0.002432085,0.00057159,0.0003216832,0.000136878,0.001434475,0.00004850093,0.0003111038,0.003810444,0.9892803,0.001121849],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"other","genre_scores_codex":[0.6691253,0.002679782,0.00004438705,0.05591314,0.003370144,0.001164403,0.0003197457,0.0005122204,0.2668708],"genre_scores_gemma":[0.4392635,0.00265501,0.002519353,0.001454646,0.002659795,0.0002661631,0.0000453898,0.0001284142,0.5510077],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9219304,"threshold_uncertainty_score":0.9997568,"prediction_status":"machine_predicted_unvalidated"},"labels":[{"model":"gemma","categories":[],"domain":null,"study_design":"not_applicable","genre":"other","about_ca_system":false,"about_ca_topic":false,"confidence":"low"},{"model":"gpt","categories":[],"domain":null,"study_design":"qualitative","genre":"empirical","about_ca_system":false,"about_ca_topic":false,"confidence":"low"}],"label_agreement":"split"},{"id":"W2031731615","doi":"10.7202/041671ar","title":"D’une scène à l’autre : Sade comme personnage","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical and Literary Studies","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Art","authors":[{"name":"Caroline Garand","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.03644786768557898,"gpt":0.2750821627212435,"spread":0.2386342950356645,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","sts","insufficient_payload"],"category_scores_codex":[0.001031714,0.001279742,0.001570528,0.0002880162,0.00243212,0.0002949947,0.001874305,0.001107664,0.001737866],"category_scores_gemma":[0.0005150439,0.001291295,0.001166614,0.001915363,0.003604934,0.00156546,0.0003194167,0.002542109,0.001004899],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005144792,"about_ca_system_score_gemma":0.0006138763,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.01542739,"about_ca_topic_score_gemma":0.2421197,"domain_scores_codex":[0.9930176,0.0006206018,0.001304134,0.001545779,0.001087036,0.002424888],"domain_scores_gemma":[0.995755,0.0008278413,0.0005576696,0.001193886,0.0003673976,0.00129819],"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":[0.0001471676,0.001277574,0.002186438,0.0007049018,0.0004050623,0.0005504858,0.1304435,0.00001655363,0.00110763,0.681879,0.1656225,0.01565913],"study_design_scores_gemma":[0.0003451385,0.000375518,0.003409101,0.0005819504,0.0003800609,0.00009610476,0.003110061,0.00007543743,0.00007130081,0.001787785,0.9882557,0.00151184],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.190471,0.003074716,0.00001861447,0.2665443,0.007676455,0.0008943389,0.0004147191,0.0006178322,0.530288],"genre_scores_gemma":[0.5761108,0.002117754,0.0009315865,0.001674036,0.003737889,0.00009680502,0.00005929067,0.0001354868,0.4151363],"genre_candidate":"other","genre_consensus":null,"teacher_disagreement_score":0.8226333,"threshold_uncertainty_score":0.9999955,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W1829458256","doi":"10.7202/041429ar","title":"BEAUCHAMP, Hélène, Le théâtre adolescent. Une pratique artistique d’affirmation, Montréal, Les Éditions Logiques, 1998. (Coll. « Théories et pratiques de l’enseignement ».)","year":2000,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Literature, Musicology, and Cultural Analysis","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":true},"ca_institutions":"Concordia University","funders":"","keywords":"Humanities; Philosophy; Art","authors":[{"name":"Claire Le Brun","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.01371975072222217,"gpt":0.257326448720028,"spread":0.2436066979978058,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.001428978,0.001468503,0.001574754,0.000294078,0.003092238,0.001009862,0.001249133,0.001641491,0.001163512],"category_scores_gemma":[0.0003099005,0.001410754,0.001097874,0.001932028,0.002239373,0.002578121,0.000141657,0.001852539,0.0001910028],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001126598,"about_ca_system_score_gemma":0.002957535,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.03826807,"about_ca_topic_score_gemma":0.6367819,"domain_scores_codex":[0.9906766,0.002796184,0.001965264,0.001597991,0.000953761,0.002010129],"domain_scores_gemma":[0.9959912,0.0005237931,0.0009207043,0.00101072,0.0006568379,0.0008967677],"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":[0.0001833679,0.001729874,0.0003633599,0.0006062911,0.0005891144,0.0002319047,0.03387016,0.001531832,0.0003299381,0.6386289,0.3160876,0.00584763],"study_design_scores_gemma":[0.0004378833,0.0005687641,0.004255395,0.001555176,0.0007047346,0.0001452154,0.008863106,0.0004205772,0.0003812618,0.009964655,0.9711115,0.001591773],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"commentary","genre_gemma":"empirical","genre_scores_codex":[0.1447122,0.01906032,0.0007864304,0.5294249,0.001243628,0.003862465,0.001870463,0.001591465,0.2974481],"genre_scores_gemma":[0.7153265,0.03983534,0.003909742,0.01435165,0.002086622,0.00083513,0.001153931,0.0001893052,0.2223118],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6550238,"threshold_uncertainty_score":0.9998065,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2015996980","doi":"10.7202/1005618ar","title":"Monodrame et performance autofictionnelle dans les créations en solo de Marie Brassard","year":2011,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Cultural Insights and Digital Impacts","field":"Computer Science","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","authors":[{"name":"Gilbert David","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.1890727302798107,"gpt":0.2831747586743956,"spread":0.0941020283945849,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","scholarly_communication"],"consensus_categories":[],"category_scores_codex":[0.0006517543,0.001025022,0.0008221436,0.0002735997,0.0009002282,0.001335501,0.001774602,0.0006927356,0.0002997731],"category_scores_gemma":[0.0003709813,0.0009498202,0.0006404665,0.0008454274,0.000710961,0.006840907,0.0005449933,0.001051019,0.0003029355],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005944232,"about_ca_system_score_gemma":0.0009374248,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.00762564,"about_ca_topic_score_gemma":0.03960935,"domain_scores_codex":[0.9949837,0.0004542448,0.001101146,0.001236092,0.0005413105,0.001683554],"domain_scores_gemma":[0.9965198,0.0004743811,0.000483212,0.001272112,0.0003490032,0.0009014993],"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":[0.0001171781,0.001184075,0.00415465,0.0004481895,0.000293797,0.0004112795,0.08662691,0.00270731,0.001457515,0.872932,0.01442541,0.01524174],"study_design_scores_gemma":[0.0004398777,0.001249526,0.1009309,0.001301864,0.000314249,0.001353573,0.001135179,0.02819134,0.004129322,0.006400732,0.852541,0.002012468],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2670852,0.001366802,0.02057732,0.02973703,0.002274132,0.0009991687,0.0002902772,0.00111247,0.6765576],"genre_scores_gemma":[0.8577177,0.001926204,0.009405192,0.001054471,0.0004541809,0.00007247848,0.00007004583,0.0001088486,0.1291909],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8665312,"threshold_uncertainty_score":0.9997012,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2026388888","doi":"10.7202/041602ar","title":"Le théâtre ou l’exhibition du monstre. La mise en scène des corps stigmatisés dans Giulio Cesare de Romeo Castellucci","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Education, sociology, and vocational training","field":"Social Sciences","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art","authors":[{"name":"Bénédicte Boisson","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.05285920859258658,"gpt":0.333908759314128,"spread":0.2810495507215414,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity"],"consensus_categories":["sts"],"category_scores_codex":[0.00376128,0.0009919667,0.0009899427,0.0002879136,0.002409522,0.0004022219,0.001392944,0.001440362,0.0004610522],"category_scores_gemma":[0.002150501,0.001151154,0.0006825601,0.001104366,0.006840274,0.00160368,0.00011821,0.001844869,0.0001836971],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0005462635,"about_ca_system_score_gemma":0.003423731,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.009223066,"about_ca_topic_score_gemma":0.2075512,"domain_scores_codex":[0.9924949,0.002480116,0.00122697,0.001271835,0.0007293734,0.001796823],"domain_scores_gemma":[0.9931055,0.003754928,0.0007259506,0.0008210409,0.000605034,0.0009875171],"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":[0.00005977002,0.001131053,0.01603584,0.0006685244,0.0003027575,0.000136123,0.1000516,0.0003004615,0.002382849,0.8626596,0.008085733,0.008185674],"study_design_scores_gemma":[0.0006206446,0.0002844711,0.04872498,0.00136472,0.0005234742,0.0007473186,0.06854672,0.0002816648,0.0005355254,0.0102757,0.8664874,0.001607429],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6649949,0.001152724,0.0002671496,0.06802555,0.003609686,0.0009291898,0.0004483483,0.0004410935,0.2601313],"genre_scores_gemma":[0.9501167,0.004021484,0.005648318,0.0004240819,0.005329658,0.0002158388,0.0003218516,0.0001772206,0.03374485],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.8584017,"threshold_uncertainty_score":0.999856,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2072243673","doi":"10.7202/041614ar","title":"Une dramaturgie du décentrement : étude de Atteintes à sa vie, Tout va mieux et Face au mur de Martin Crimp","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Linguistics and Discourse Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","authors":[{"name":"Rachel Spengler","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02169174202231165,"gpt":0.267435994563647,"spread":0.2457442525413353,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","scholarly_communication","insufficient_payload"],"consensus_categories":["metaepi_narrow"],"category_scores_codex":[0.001388828,0.001405604,0.00143889,0.0003694692,0.001306664,0.001373604,0.001410415,0.0006281692,0.002991916],"category_scores_gemma":[0.0009558026,0.001282462,0.001366648,0.000301113,0.001327589,0.000640594,0.0003743715,0.001723073,0.0003444293],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.0007254622,"about_ca_system_score_gemma":0.001906882,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.03450089,"about_ca_topic_score_gemma":0.5843738,"domain_scores_codex":[0.9932926,0.0004131758,0.001592899,0.001334533,0.000784533,0.002582251],"domain_scores_gemma":[0.9955289,0.000561882,0.0007536216,0.001386954,0.0006264093,0.001142248],"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":[0.0002436713,0.001916764,0.006231481,0.001005985,0.001171859,0.0007671817,0.04251062,0.0009836301,0.001564401,0.8720387,0.06832278,0.003242916],"study_design_scores_gemma":[0.0005552698,0.0003282792,0.004017513,0.001066063,0.001548417,0.0001366916,0.00582534,0.002367668,0.0007482192,0.003681115,0.9781032,0.001622275],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.3991545,0.00237607,0.0002297956,0.1722225,0.003831436,0.001076043,0.001112287,0.0004913608,0.4195061],"genre_scores_gemma":[0.8905154,0.002517213,0.0009771204,0.002694217,0.006415318,0.000109292,0.0002370372,0.0002456697,0.0962887],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.9097804,"threshold_uncertainty_score":0.9999935,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2014795913","doi":"10.7202/044278ar","title":"Une généalogie méconnue du théâtre populaire en France : Jacques Copeau, le régime de Vichy et l’influence de la tradition barrésienne1","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Historical Studies and Socio-cultural Analysis","field":"Arts and Humanities","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","authors":[{"name":"Marion Denizot","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.008204569323660746,"gpt":0.2236040694678632,"spread":0.2153995001442025,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts"],"consensus_categories":[],"category_scores_codex":[0.001213505,0.001221968,0.001473897,0.0001890865,0.004908892,0.0008016939,0.001290013,0.0009846591,0.0005161283],"category_scores_gemma":[0.0006342247,0.001150203,0.001243847,0.000445749,0.002704942,0.001522163,0.0001939532,0.002229459,0.0001425396],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.001736794,"about_ca_system_score_gemma":0.0007527478,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_topic_score_codex":0.06737213,"about_ca_topic_score_gemma":0.2852416,"domain_scores_codex":[0.9942384,0.0009978465,0.001256058,0.001244234,0.0005639375,0.001699462],"domain_scores_gemma":[0.9963123,0.001075521,0.0005702819,0.0008119183,0.0004613204,0.0007687197],"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":[0.0001004069,0.0008743179,0.00241677,0.0006255143,0.0005591679,0.0004717137,0.07986869,0.0007685903,0.001944413,0.8800079,0.0300425,0.002320023],"study_design_scores_gemma":[0.000440611,0.0003013259,0.01362733,0.0006609713,0.0006654909,0.0001951088,0.003164935,0.0003253448,0.0001280936,0.01293319,0.9661125,0.0014451],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"empirical","genre_gemma":"empirical","genre_scores_codex":[0.6687258,0.00202201,0.00004920004,0.2818963,0.0008417811,0.0005106131,0.0005154524,0.0004365504,0.04500223],"genre_scores_gemma":[0.9139147,0.009433013,0.0007412751,0.001880503,0.002392254,0.0001914643,0.000154917,0.0001668492,0.07112502],"genre_candidate":"empirical","genre_consensus":"empirical","teacher_disagreement_score":0.93607,"threshold_uncertainty_score":0.9990948,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2037094610","doi":"10.7202/041660ar","title":"Présence et représentation dans la philosophie du théâtre d’Henri Gouhier","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Psychoanalysis and Psychopathology Research","field":"Psychology","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":true,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Philosophy","authors":[{"name":"Thomas Dommange","is_ca":true}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02351370798362881,"gpt":0.3409224513862011,"spread":0.3174087434025723,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"category_scores_codex":[0.003906182,0.001770308,0.001919354,0.0009663478,0.0008559813,0.0005196208,0.002585931,0.002316385,0.003153029],"category_scores_gemma":[0.0006340726,0.001837122,0.00161048,0.001882895,0.003323353,0.001282419,0.0003411526,0.00500968,0.002130402],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.000234832,"about_ca_system_score_gemma":0.0008120104,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.001595973,"about_ca_topic_score_gemma":0.0293349,"domain_scores_codex":[0.9874734,0.003241185,0.002227194,0.003236168,0.001201117,0.002620885],"domain_scores_gemma":[0.9916013,0.001777251,0.001077211,0.003622963,0.0006606377,0.001260677],"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":[0.001072538,0.003855143,0.02015988,0.0006165915,0.001127612,0.003129876,0.01888487,0.0001142808,0.01926673,0.814294,0.105268,0.01221043],"study_design_scores_gemma":[0.001315342,0.0006602259,0.03869075,0.0006442,0.0008465901,0.003853715,0.001584413,0.0002342932,0.0003244423,0.008576537,0.9414141,0.001855342],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.2536438,0.000660836,0.0002221998,0.1246281,0.008120365,0.001284784,0.0005579114,0.000437978,0.6104441],"genre_scores_gemma":[0.8247133,0.00235133,0.001223842,0.002056781,0.004056906,0.0004141629,0.0003717545,0.0003752576,0.1644366],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.8361461,"threshold_uncertainty_score":0.9995043,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W2032850309","doi":"10.7202/041715ar","title":"Violences sur la scène contemporaine : nécessité ou gratuité?","year":2010,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Psychoanalysis and Psychopathology Research","field":"Psychology","cited_by":1,"is_retracted":false,"has_abstract":true,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy; Art","authors":[{"name":"Eleni Papalexiou","is_ca":false}],"retraction":null,"screen_n_in":null,"score":{"opus":0.02780112344296129,"gpt":0.3281560185093563,"spread":0.300354895066395,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","sts","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"category_scores_codex":[0.00447911,0.001884473,0.002521758,0.001026333,0.0008199952,0.0006300505,0.00324646,0.00262426,0.004577662],"category_scores_gemma":[0.00067609,0.001850438,0.001755534,0.001967783,0.00344758,0.00112165,0.0003180734,0.005380241,0.001646729],"about_ca_system_candidate":false,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.00013714,"about_ca_system_score_gemma":0.0009069367,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.002016786,"about_ca_topic_score_gemma":0.05734055,"domain_scores_codex":[0.9877146,0.002522687,0.00241809,0.003013595,0.001170914,0.003160044],"domain_scores_gemma":[0.9909258,0.002324303,0.001120971,0.003252843,0.0008132791,0.001562757],"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":[0.002128943,0.006497764,0.02903925,0.001368648,0.002779105,0.004937313,0.00763883,0.00003424018,0.0142555,0.4741833,0.3335574,0.1235797],"study_design_scores_gemma":[0.001529129,0.0008527321,0.02774772,0.001194156,0.0006700779,0.001718097,0.000557148,0.0001241575,0.0002481025,0.002329776,0.9611743,0.0018546],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.279473,0.006131544,0.00005718208,0.08812103,0.008255493,0.00126938,0.000809139,0.0004531433,0.6154301],"genre_scores_gemma":[0.6910909,0.003183158,0.0004332096,0.001017577,0.002382402,0.0002926392,0.0001965776,0.000263138,0.3011403],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.6276169,"threshold_uncertainty_score":0.9993899,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null},{"id":"W4252815694","doi":"10.7202/041590ar","title":"In memoriam","year":2005,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"","field":"","cited_by":1,"is_retracted":false,"has_abstract":false,"routes":{"ca_aff":false,"ca_fund":false,"ca_venue":true,"about_ca":false},"ca_institutions":"","funders":"","keywords":"Computer science","authors":[],"retraction":null,"screen_n_in":null,"score":{"opus":0.02075339767207062,"gpt":0.2698611416872222,"spread":0.2491077440151516,"validation_status":"score_only:v0-immature-baseline"},"prediction":{"model_version":"codex-gemma-dda1882f352a","candidate_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"consensus_categories":["metaepi_narrow","research_integrity","insufficient_payload"],"category_scores_codex":[0.002553782,0.002889191,0.003077792,0.001781191,0.0005396394,0.0005823753,0.003085333,0.001926837,0.00385983],"category_scores_gemma":[0.0009472211,0.003447745,0.001661891,0.003440071,0.001833641,0.005557246,0.0006084372,0.00332323,0.02148164],"about_ca_system_candidate":true,"about_ca_system_consensus":false,"about_ca_system_score_codex":0.004116843,"about_ca_system_score_gemma":0.001869018,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_topic_score_codex":0.00305299,"about_ca_topic_score_gemma":0.3259268,"domain_scores_codex":[0.9847493,0.001426783,0.003719888,0.003277355,0.001706048,0.005120615],"domain_scores_gemma":[0.9923566,0.0009810487,0.001222584,0.003087856,0.0005538384,0.00179809],"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":[0.001228147,0.00515493,0.002010828,0.002068584,0.0007051679,0.002850684,0.01096687,0.009517988,0.003698665,0.5085086,0.4400432,0.01324632],"study_design_scores_gemma":[0.001684614,0.0006055035,0.003910688,0.003338236,0.0006510427,0.001251548,0.0004822436,0.002364293,0.002140919,0.001325019,0.9787837,0.003462138],"study_design_candidate":"not_applicable","study_design_consensus":null,"genre_codex":"other","genre_gemma":"empirical","genre_scores_codex":[0.1804621,0.01823935,0.00004391825,0.285724,0.01667391,0.004357985,0.002152439,0.001827713,0.4905186],"genre_scores_gemma":[0.6763111,0.004219078,0.005625132,0.003294495,0.01503998,0.0004608222,0.0002335438,0.00131637,0.2934995],"genre_candidate":"empirical","genre_consensus":null,"teacher_disagreement_score":0.5387405,"threshold_uncertainty_score":0.9997061,"prediction_status":"machine_predicted_unvalidated"},"labels":[],"label_agreement":null}]}