Bibliographic record
Abstract
Detailed and extensively researched, Asuka Kimura's Performing Widowhood on the Early Modern English Stage offers scholars interested in early modern performance studies a uniquely material perspective on the class and gender concerns navigated in English dramatic performance.Throughout the monograph, Kimura examines the tension between widows' precarious social status and the newfound freedom afforded by the loss of male authority by exploring, often at length, not only the material conditions of the stage and its props but also the material reality of the actors' bodies and voices that would have brought drama's characters to life.Nowhere is Kimura's emphasis on the material more apparent than in chapter 1, which devotes itself to the listing, describing, and detailing of widows' costuming, props, and accessories in early modern English stagecraft.Beginning with a brief section on historical context and then launching into class-based groupings of costuming from both life and drama, chapter 1 makes immediately manifest not only Kimura's interest in the material trappings of dramatic labour, but also the physical, visual ways in which widowhood can be read in the period as a decipherable symbol of social, gendered positioning.Chapter 2 explores the importance of what Kimura describes as the "outward show" (69) of mourning gestures in late Elizabethan drama, focusing primarily on the Tamburlaine plays, Richard III, and King John.Though conscious of the suspicion with which the spectacle of mourning was met, this chapter suggests a reading of voice and gesture that makes room for female dissent but also emphasizes the reality of the male bodies of the period's actors tasked with female roles.While the emphasis on dissenting voices allows Kimura to offer a fascinating glimpse into women's role in the (re)making of cultural memory, the latter analysis of actors' bodies, imagined tones of voice, and possible ages appears jarringly speculative.Even Kimura herself describes it as "all conjectural" (97).Chapter 3 retains an interest in Elizabethan tragedy and adds to it the complications presented by Jacobean satirical comedies.Focusing on the figure
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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 | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.001 |
| Science and technology studies | 0.003 | 0.001 |
| Scholarly communication | 0.002 | 0.002 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.019 | 0.003 |
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".