Abjected Arcadias: Images of Classical Greece and Rome in Barrie Kosky's Oedipus, the Lost Echo and the Women of Troy
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
The name "Arcadia" has a seductive sound. From Virgil via Sir Philip Sidney to Tom Stoppard, through high art and popular fiction, it evokes an idyllic setting characterised by harmony and delight, a scene of youth, perpetual good health and abundance, where the greatest grief is occasioned by unrequited affection and expressed in the lamentations of the disappointed lover. Twenty-first-century drama has its citified and suburban versions of this idyllic but nevertheless anxious classical world – but they are now called sitcom and soap, the worlds of 'Friends' and 'Neighbours'. But when theatre in Sydney, over the past few years, has turned back to the classical tradition, it is not this gentle, bucolic version of antiquity that it has chosen to share with audiences; Australian theatregoers have been presented instead with images of the ancient Greek and Roman periods characterised by violence, brutality, deception, conspiracy, cruelty, torture, hatred, disharmony, the capricious abuse of power, and blood – buckets and buckets of blood. The image of antiquity presented by these theatrical events is more the version we know from intrigue-laden texts like Shakespeare's 'Julius Caesar', the televised adaptation of Robert Graves's 'I Claudius' and the more recent BBC/HBO/RAI television series 'Rome' than pastorals depicting a golden age. The productions I am referring to here are the Sydney Theatre Company's 'Oedipus' by Seneca in the translation by Ted Hughes (2000); 'The Lost Echo' (2006) and 'The Women of Troy' (2008).
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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 | 0.002 | 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 | 0.000 | 0.003 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| 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 it