Bibliographic record
Abstract
Bakhtin’s carnivalesque thesis is contradictory as it argued that drama cannot be carnivalesque while admitting its elements in Feast of Fools, commedia dell’arte, and Shakespeare. Bakhtin’s argument that the public spirit of the carnival metamorphosed only into a novel and that “drama does not allow for the dialogic interpenetration of one language by another” is contradictory as well. Bakhtin did not recognize the unique British pantomime tradition that elaborated commedia dell’arte and thus encouraged the carnivalesque by its heteroglossic conventions: interplay of the opening and harlequinade, interplay of subtitles and casting policies, and the breakdown of the fourth wall by audience participation, etc. This article sets itself the double task of analysing the manuscript, Lord Chamberlain’s copy and the premiere of Peter Pan through Bakhtin’s theories of carnival, while at the same time debating these texts expanded its carnivalesque elements to the full point as it evolved from the draft to the performance. Barrie’s manuscript was a pantomime as the harlequinade, its subtitle, The Boy Who Hated Mothers, and the doubling of Hook and Mrs. Darling demonstrated. Peter came to live with Wendy in Kensington Gardens and this subversive text criticized the harsh and painful Victorian home and school education system together. In Lord Chamberlain’s copy subtitled as The Boy Who Could Not Grow Up, Barrie deconstructed the harlequinade and expanding the carnivalesque element by Wendy’s adoption of an abandoned baby for the future mother figure of Peter. The premiere, subtitled as The Boy Who Would Not Grow Up, was somewhat different in narrative as it separated Peter and Wendy by allowing her to visit Peter just once a year for spring cleansing. However the representation became heteroglossic as it seemed to show Peter and Wendy live together betraying the narrative. In addition the carnivalesque was more expanded by casting an actress to Peter’s role. The meanings thus became more heteroglossic as well as the representation became plural: one, Victorian children subverting an education system, the other, Victorian women liberating harsh and painful socio-political mores of the times. Therefore in its development from the manuscript to the premiere, Peter Pan was intensifying the carnivalesque of British pantomime, turning the Victorian world upside-down.
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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 | 0.001 | 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 | 0.001 | 0.001 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.002 | 0.003 |
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; both teacher heads agree on what is shown here.
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".