Bibliographic record
Abstract
2006 links Ibsen and Beckett, coincidentally, by accidents of death and birth, ‘‘things dying’’ and ‘‘things new-born’’ held in unlikely fusion by our subliminal need to celebrate significant centenaries or by our habitual scholarly inclination to find significance in the serendipitous. How do we accommodate the crashing gears of nineteenth-century realism to the postmodern world of the absurd or read the nothingness at the core of Ibsen’s many onions in the context of the nothing-to-be-done that defines the experience of postmodern sensibility? It is the assumption of this journal, as Alan Ackerman has indicated in his ‘‘Prompter’s Box’’ preface, that Ibsen defines ‘‘the historical moment that makes modern drama modern’’ — that he is, as Martin Esslin argued at the Ibsen sesquicentennial, ‘‘one of the principal creators and well-springs of the whole modern movement in drama,’’ organically linked even to dramatists like Beckett, whose anti-illusionist techniques seem to deny any indebtedness to Ibsen’s dramatic paternity. The link, Esslin suggested, is not technical but thematic, an existential vision fundamental to the subject matter of modernity: ‘‘the problem of Being, the nature of the self, with the question of what an individual means when he uses the pronoun I. How can the self be defined? Can one even speak of a consistent entity corresponding to an individual’s self?’’. The drift of Esslin’s argument is that Krapp’s Last Tape is a modernist emanation from the central preoccupation of Peer Gynt and that the image of the onion, with its core of nothingness, expands outwards from Ibsen to incorporate the existential quandary of Beckett’s entire oeuvre.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot 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.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 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 teacher head, 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".