Bibliographic record
Abstract
Revels unendingAmong our major living authors, Margaret Atwood must be one of the most obliging.Asked to participate in a literary challenge, or an experimental on-line writing exercise, she steps up to the plate and, more often than not, hits one over the literary Green Monster.Such challenges have given the world The Penelopiad (2005), The Heart Goes Last (2015), and now, Hag-seed: The Tempest Retold (2016).When the Hogarth Press unleashed Atwood on Shakespeare, they may even have known the Canadian tradition of revising the tale of Prospero's island: by Robertson Davies, for instance, Audrey Thomas, or even in Haida Gwaii productions of The Tempest in city parks.Atwood takes Shakespeare's anonymous Mediterranean island and transforms it into southwestern Ontario, Festival country, home to theatrical festivals in communities such as Stratford, Niagara-on-the-Lake and Blyth.But just when you think you envision the cozy, community-theatre setting, it vanishes like the spirit banquet, and in its stead appears Fletcher County Correctional Institute, with its educational program for inmates.And why not?The Tempest, after all, is a play about skullduggery, kidnapping, drunkenness and revenge -all fine associations for a penal institution.And there are, as Felix's prison class discovers, no fewer than nine distinct acts of imprisonment within the play itself.But Atwood places the emphasis here on the 'correctional' in the prison's name.For much will be corrected in the life of Felix Phillips the protagonist as well as in the lives of inmates.This adaptation mirrors the plot of The Tempest, while also narrating the staging of the play at Fletcher Correctional, under Felix's direction.It's a play within a play, as the reader gleefully recognizes, with Prospero/Felix as sub-dramatist, just as Shakespeare made him, pulling the strings of his puppet spirits and enemies.An earlier Canadian novel, Tempest-Tost, by Robertson Davies (1951), took a similar approach, where the staging of The Tempest by the Salterton Little Theatre merges with the comic drama
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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 | 0.005 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.020 | 0.003 |
| Scholarly communication | 0.008 | 0.006 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.005 | 0.010 |
| Insufficient payload (model declined to judge) | 0.076 | 0.030 |
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".