Bibliographic record
Abstract
This article utilizes a combination of digital and traditional literary-critical analysis in order to explore ominous dreams in the Elizabethan dramatist Thomas Kyd’s undoubted plays The Spanish Tragedy (1587), Soliman and Perseda (1588), and Cornelia (1594). The article proceeds to explore the use of dreams in the anonymously printed early modern plays King Leir (1589) and Arden of Faversham (1590) in order to demonstrate that these works are in good accordance with Kyd’s highly individual thought processes and overall dramaturgy. Close reading of these texts is accompanied by an examination of the characteristics of Kyd’s verse style, as well as collocation matching, which provides quantitative and qualitative evidence for Kyd’s idiosyncratic lexicon of words and phrases. This study extends and corrects the work of generations of attribution scholars and suggests that King Leir and Arden of Faversham can be ascribed to Kyd with a high degree of probability. Cet article emploie une combinaison d’analyses numérique et traditionnelle de la critique littéraire pour explorer les rêves de mauvais augure dans les pièces de théâtre incontestables de Thomas Kyd : La Tragédie espagnole (1587), Soliman et Perseda (1588) et Cornélie (1594). Cet article examine ensuite l’usage des rêves dans les pièces de théâtre du début des Temps Modernes, Le Roi Lear (1589) et Arden de Faversham (1590), qui ont été imprimées anonymement, afin de démontrer que ces oeuvres se conforment bien au processus de pensée et à sa dramaturgie générale. Une lecture attentive de ces textes s’accompagne d’une analyse des caractéristiques du style de vers de Kyd. Nous examinons aussi les collocations correspondantes, ce qui fournit des preuves quantitatives et qualificatives du lexique idiosyncrasique et des tournures de phrase de Kyd. Cette étude étend et rectifie les travaux des générations d’universitaires d’attribution et elle suggère que les pièces de théâtre Le Roi Lear et Arden de Faversham peuvent être attribuées avec une grande probabilité à Kyd. Mots clés: linguistique de corpus; collocations; Kyd; Shakespeare; King Leir; Arden de Faversham
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.009 | 0.015 |
| Scholarly communication | 0.006 | 0.002 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.004 | 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 source (direct Gemma or distilled Codex), 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".