Bibliographic record
Abstract
The Gothic dimensions of the work of Margaret Atwood (1939–) are most visible in her interrogation of fictions of femininity, in her treatment of the figure of the woman writer, and in the recurring interest in the possibilities of dual or multiple identities in her writing (see doubles ). In her early novel Lady Oracle (1976), a Gothic parody in the tradition of Jane Austen's Northanger Abbey , the main character, Joan Foster, writes Gothic romances for the popular fiction market but also imagines herself as the heroine of her own life. Atwood responds to the sacrificial virgin of seminal Gothic texts such as Horace Walpole's The Castle of Otranto and Matthew Lewis' The Monk by charting her protagonist's quest for agency and self‐determination through a maze of Gothic conventions (see lewis, matthew ; walpole, horace ). Sections of Joan's Gothic romances are interpolated into the main body of the novel and serve as all‐important ancillary texts to the story of her coming of age in Canada and her later escape to Europe (see canadian gothic ). Joan Foster is a typical Atwoodian protagonist in that she leads more than one literary life; as well as writing popular romances (published under a pseudonym), she is also the author of an acclaimed collection of poetry that shares its name with the title of Atwood's novel and is marketed as literary Gothic by her publishers. The numerous strands of Joan's Gothic writing overlap and interact with the plot of Joan's life; for example, the men in her life are imagined as villains or as rescuer figures at different points in the text. In determining to take control of the fictions that have come to impinge upon her life story, in the final pages of the novel she abandons the fantasy of Gothic Romance for science fiction. While Lady Oracle is perhaps Atwood's most striking engagement with the Gothic, a number of her short fiction works, in particular the title story of her collection Bluebeard's Egg (1983), are explicit in reworking fairytales and folktales with a distinctly Gothic aspect to them (see folklore ). In these shorter works, as in her novels, Atwood's revision of Gothic motifs is driven by a feminist interest in unraveling the original texts and generating new meanings from them that force a reconsideration of the roles historically assigned to women in the Gothic tradition.
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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 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.003 | 0.001 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.003 | 0.001 |
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 teacher head, 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".