Performative Acts of Gendered Emotions and Bodies in Chekhov's <i>The Cherry Orchard</i>
Bibliographic record
Abstract
Anton Chekhov's major plays are acclaimed for their depiction of complex Emotion. Yet even when the representation of emotions in his major plays is perceived to facilitate social networks between characters, Chekhovian emotions are divested of cultural meaning. The depiction of the emotions of male and female characters aligns with gender identity, but the significance of differently gendered emotion passes unquestioned. The perception of dramatic emotions becomes detached from social identity because they are presumed to be gender neutral, universal experiences. Recent feminist scholarship outside the field of drama, however, points out that particular emotions are culturally specific rather than universal and "natural" — their qualities and expression vary greatly between cultures — and they are gendered. In Western culture, women have traditionally been considered more emotional than men. Contrary to social belief that emotions are passive states (passivity aligning them with femininity within a meta-cultural binary), emotions can be experienced as active states, although they would seem to be experienced differently by men and women. Emotional expression is an integral part of social identity and exists through "socially regulated gestures” that establish a category of emotions. Moreover, emotion theory holds that the social meanings of emotions are established in their repetition as patterns and syndromes evident in behaviour and language. Therefore, we can ask whether the expressions of emotions by the characters in Chekhov's The Cherry Orchard reflect repetitions of social patterns and whether these expressions are culturally meaningful because they align with gender identity.
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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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.004 | 0.008 |
| Scholarly communication | 0.003 | 0.001 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.003 | 0.000 |
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".