Notice bibliographique
Résumé
THIRTY-TWO years have elapsed since the publication of the first volumes in the Records of Early English Drama (REED) series, York, ed. Alexandra Johnston and Margaret Rogerson (University of Toronto Press, 1979, 2 vols.). Those years have witnessed the steady onward march, collection by collection, of the series of volumes affectionately known at REED as the red army. Numerous people have devoted substantial parts of their academic careers to furthering the cause of the project, and their rewards (while not financial) have been considerable in other ways. The prose in the preceding paragraph, if it had been written in the late nineteenth century about some earlier projects (such as, say the New Variorum Shakespeare, the Oxford English Dictionary or the Dictionary of National Biography) would have been deemed a self-sufficient explanation of the past and a map for the future: publish further volumes, complete the project, and rest. . . . But now, for REED (and for those other projects in their later iterations) such words, such aims, no longer suffice. The future cannot be like the past, because of the dizzying march of new technology. Those of us who have devoted much effort to the REED Patrons and Performances Web Site project (http://link.library.utoronto.ca/reed/) have been immediately and continuously aware of the promises and demands of the new technology, because we have responded as technology has enlarged, changed, and re-directed this site in ways that we could not have envisaged, even in wild dreams. The three main engines of these changes have been the development of database management systems and mass online storage, the incredible growth and powers of the Internet, and the huge new flexibilities and powers of GIS (Geographical Information System) mapping. As we have responded to this changing environment we have become increasingly aware that it must and will change the scope and direction of the main REED project itself, toward becoming a digital, Internet -based reference resource and teaching/learning tool. Recounting how this has happened is our aim in this article. While it is co-authored (its two writers, Sally-Beth MacLean and Alan Somerset, have exchanged drafts, bounced ideas back and forth, and agreed on conclusions) it is the result of complementary responsibilities. Alan Somerset has written about the development of database technology and mass storage; Sally-Beth MacLean has written about GIS mapping and its powers and possibilities and the Early Modern London Theatres project; and we have both peered into the same crystal ball to envision the future REED edition. To recall the beginnings of the REED Patrons and Performances Web Site takes us back to 1979-80, when Dr. Somerset undertook to recover the information contained in the scrapbooks compiled by James Orchard HalliwellPhillipps and preserved at the Folger Shakespeare Library and elsewhere. The result was a database in which most information fields were restricted to four or fewer characters, designed and written in COBOL, and processed from two cartons of punchcards on a CYBER computer to produce a Computer-generated Output Microfiche (COM fiche), containing all the information on one fiche. You could hardly find any of that stuff anymore, even in a museum. We move forward to 1984, when five collections had been published (York [1979], Chester [1979], Coventry [1981], Newcastle upon Tyne [1982], and Norwich 1540-1642 [1984]). All collections contained records of professional actors, but David Galloway's Norwich 1540-1642 was the first to include a list of Patrons and Travelling Companies, identifying with more assurance the patrons of touring entertainers who showed up at Norwich and providing relevant biographical details - the patrons' titles, locally held offices, lands and principal residences - as well as culling the dates of performance events and classifying the types of entertainer in the Norwich records for easy reference. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».