MétaCan
Menu
Back to cohort
Record W2030598607 · doi:10.3138/utq.69.2.540

Shakespeare and the Art of Making an Exit

2000· article· en· W2030598607 on OpenAlexvenueno aff
Leslie Thomson

Bibliographic record

VenueUniversity of Toronto Quarterly · 2000
Typearticle
Languageen
FieldArts and Humanities
TopicShakespeare, Adaptation, and Literary Criticism
Canadian institutionsnot available
Fundersnot available
KeywordsGeniusCharacter (mathematics)ComicsEvent (particle physics)AestheticsLiteratureOrder (exchange)HistoryArtBusiness

Abstract

fetched live from OpenAlex

The genius that marks Shakespeare's work is apparent not just in such large matters as plotting, characterization, and language; it is also to be found in the smaller details — such as exits. In Shakespeare's use of them, exits do not merely get characters off stage, but are a means of dramatizing and encapsulating the chief concerns of a play. While I would not insist that he was the only playwright to capitalize on exits as he does, I believe one would be hard put to find the same subtle and ingenious use of them in the plays of his contemporaries. Even in Shakespeare's work, of course, not every exit can be related meaningfully to what the play is about: some are merely necessary, and are managed as simply as possible; but more often than not a character's departure from the stage is both itself a visual and verbal event which is directly pertinent to the issues at stake as well as one in a series of exits that highlights the tragic, comic, or tragicomic process of a play. And on the stage for which Shakespeare wrote, which had minimal scenery and no variable lighting, the potential significance of exits was doubtless more apparent, and perhaps more real, than it is today for both the playwright and his audience.

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 distilled prediction

Teacher imitation

Not calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.

metaresearch head score (Codex)0.000
metaresearch head score (Gemma)0.000
Version: codex-gemma-dda1882f352aValidation status: machine_predicted_unvalidated
Candidate categoriesInsufficient payload (model declined to judge)
Consensus categoriesnone
DomainCandidate signal: none · Consensus signal: none
Study designCandidate signal: Qualitative · Consensus signal: none
GenreCandidate signal: Empirical · Consensus signal: none
Teacher disagreement score0.767
Threshold uncertainty score0.999

Codex and Gemma teacher scores by category

CategoryCodexGemma
Metaresearch0.0000.000
Meta-epidemiology (narrow)0.0000.000
Meta-epidemiology (broad)0.0000.000
Bibliometrics0.0000.000
Science and technology studies0.0000.000
Scholarly communication0.0000.001
Open science0.0000.000
Research integrity0.0000.000
Insufficient payload (model declined to judge)0.0160.000

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.

Opus teacher head0.015
GPT teacher head0.196
Teacher spread0.182 · how far apart the two teachers sit on this one work
Validation statusscore_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it

Classification

machine, unvalidated

Machine predicted; a candidate call from one teacher head, not a consensus.

Study designQualitative
Domainnot available
GenreEmpirical

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".

Quick stats

Citations3
Published2000
Admission routes1
Has abstractyes

Explore more

Same venueUniversity of Toronto QuarterlySame topicShakespeare, Adaptation, and Literary CriticismFrench-language works237,207