Mythological heroes, historical figures and characters of world literature in the works of Margaret Atwood
Bibliographic record
Abstract
The subject of the research in this article is Margaret Atwood's literary game, which includes work with myths, world history and literature. Margaret Atwood (b. 1939) is a well-known modern Canadian writer, poet, literary critic and critic. Her works include the novel The Handmaid's Tale (1985) and its sequel, The Testaments (2019), as well as the fantasy trilogy The Mindless Addam (2003-2013). No matter what M. Atwood writes about, her works are always a story, a complex and multilevel narrative, in the center of which stands the figure of the narrator. Having begun her literary activity in the heyday of postmodernism, M. Atwood combines many features of this trend in her work: literary play, rethinking archetypal images and traditions, deconstruction. Taking as a basis the achievements of foreign and domestic researchers of M. Atwood's work, as well as research in the field of literary studies by M. Atwood herself, we describe how M. Atwood studies, analyzes and recreates well–known patterns on a new basis – in Canadian literature. The main conclusions of the study are: 1) Being a representative of young Canadian literature without a well-formed cultural and literary layer, M. Atwood borrows from the global literary tradition, as well as mythology and folklore, heroes and images that she seeks to "instill" on new Canadian soil. 2) M. Atwood's deconstruction is not the destruction, analysis of an established tradition, but, on the contrary, an attempt to create it through appropriation and assimilation of other people's traditions. 3) M. Atwood, as a rule, takes ancient Greek and European myths and fairy tales as a basis. 4) Working with the characters of wandering plots and textbook works (Shakespeare), M. Atwood often resorts to overturning the established idea of characters, creating doppelgangers and "werewolves".
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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 | 0.002 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.030 | 0.028 |
| Scholarly communication | 0.011 | 0.003 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.003 | 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".