Bibliographic record
Abstract
Abstract Recently, critics have approached the cultural appropriation of “not-Shakespearean texts, arguing that the Jacobean revivals of the 1980s and 1990s “are as conservative as their Shakespearean counterparts” (Aebischer 282), due to their emphasis on historical continuity and coherence. However, the drama produced in the 1970s and 1980s asserted a new theatrical aesthetic that demands that the audience recognize its own complicity in perpetuating the myth of historical continuum through the stylistic assertion of disunity. Instead of employing a ‘usable history,’ the playwrights of this era created a ‘usable culture’ that used literature as historicity in order to highlight the inefficiency of both as a means of mediating the present. Barrie Keeffe's play, A Mad World My Masters, under the guise of Jacobean nostalgia, confronts the implications of the emergent Conservative cultural dictate that assumes governmental responsibility for defining and maintaining “the good standards and best things” (Thatcher) of postwar England—a missive that repeatedly conflated the form of outrage with the “good” art that should contain such protest. Keeffe challenges the audience's cultural expectations by putting the worst of Thatcher's “scroungers” onstage and demands that the audience recognized its complicity in the emergent fraudulent meritocracy that characterized political reform.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.004 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.007 | 0.019 |
| Scholarly communication | 0.007 | 0.006 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.002 | 0.005 |
| Insufficient payload (model declined to judge) | 0.010 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".