Bibliographic record
Abstract
At the beginning of the Aeneid Virgil's hero grounds the Trojans’ mission to found a new city and world empire in the memory of their catastrophic sufferings. As Aeneas enters Dido's new temple raised in honor of Juno, he sees the high point of the goddess's glory depicted in the defeat and humiliation of Hector (I:483–4). More than a little ironically, Aeneas fails to notice the glory but, in the great-heartedness Virgil's Roman audience is meant to admire, he only sees the sufferings of his own people: ‘who knows not the sufferings of the Trojans’, he wonders in astonishment that the Carthaginians should be so familiar with his nation's story (I:459–60).1 Later, addressing Dido and her rapt court, he goes on to recount in great detail the brutal, nightmare destruction of his family and friends in the fiery, apocalyptic immolation of their city (II:1–804). The redemptive force of the Aeneid is incomprehensible without this opening holocaust. As Ernest Renan suggests in his remarkable account of nation-formation, national cultures draw enormous strength and definition from the memory of some original disaster: ‘suffering in common unifies more than joy does’, he argues, and where ‘national memories are concerned, griefs are of more value than triumphs, for they impose duties, and require a common effort’.2 In the story of twentieth-century Britain's national identity, the defining catastrophe or holocaust was not the fall of Troy or the event that now so powerfully dominates contemporary culture in the West, the mass murder of over 6 million Jews, social democrats, communists, and others in Nazi Germany, but a different, albeit related, nightmare—the slaughter of a whole generation of young men on the Western Front in the First World War. In this holocaust, Britain alone suffered over 2.3 million dead and wounded; that is, 5% of its total population of 46 million people were direct casualties.3
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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 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.020 | 0.023 |
| Scholarly communication | 0.010 | 0.005 |
| Open science | 0.001 | 0.007 |
| Research integrity | 0.001 | 0.007 |
| Insufficient payload (model declined to judge) | 0.006 | 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".