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
Response by STEVE MENTZoes Shakespeare provide insight into the Anthropocene?Can the Anthropocene illuminate Shakespeare?The contributions to this special issue suggest diverse ways to answer these perhaps over-broad questions.They also imply that the reflective structure of these opening inquiries-holding the Shakespearean mirror up to Anthropocene nature-might not be the only way to bring these ideas together.The Anthropocene is a new term with many meanings, and Shakespeare's "myriad-minded" plurality has been a critical clich since Coleridge. 1Juxtaposing the multiplicities of the geological epoch and the four-century-old plays might do something more complex than clarifying the meanings of each separate entity.We won't end up with a new "Shakespeare" or a newly-Shakespearean sense of our geological epoch but instead a productive entanglement of unlike things.When these archives of knowledge and habits of critical thinking touch each other, as these contributions show, strange new things emerge.In this response, I'll think about how the encounter between the Anthropocene and Shakespeare speaks to the three nouns in my title.We need to frame an adequate politics for the Anthropocene.A broadly Shakespearean poetics can help.But the scale-shifting challenges of history may limit any such politico-poetic gambit.The Anthropocene, I suggest, may be best conceived as a problem in poetic form. Politics!When thinking about the essays in my half of the group, I began by trying to divide the political from the poetic.All the papers emphasize the political implications of their literary analyses.Sara Crover reads Richard II's failed stewardship of the garden of England in terms of twenty-first century Canadian environmental politics.Ameer Sohrawardy unveils George Sandys's polytemporal descriptions of the Near East in terms of twenty-first century geopolitics.Charles Whitney uncovers Shakespearean tragedy in terms of Agnotocene ("Ignorance-cene") failures to respond to intergenerational claims for justice.Shannon Garner-Balandrin turns toward early modern romance as a means to conceptualize climate change.McKenna Rose finds in Marlowe's Faustus, in particular its handling of blood as stage property and symbol, resonant formulations for engaging environmental catastrophe.D
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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 | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.001 | 0.002 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.011 | 0.002 |
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