Women writing plays : three decades of the Susan Smith Blackburn Prize
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
* Foreword (by Emilie S. Kilgore) * Acknowledgments and Note to Readers * Introduction: Women Writing Plays (by Marsha Norman) * Part One: Breaking the Silence *1. Social Change, Artistic Ferment * The U.S.A. (by Charlotte Canning) * The U.K. (by Elizabeth Swain ) *2. Entering the Mainstream: The Plays of Beth Henley, Marsha Norman, and Wendy Wasserstein (by Mel Gussow) *3. A Conversation: Timberlake Wertenbaker, Max Stafford-Clark, and Michael Billington * Part Two: Facing the World *4. The Female Gaze (by Emily Mann) *5 . Women and War: The Plays of Emily Mann, Lavonne Mueller, Shirley Lauro, Naomi Wallace, Shirley Gee, and Anne Devlin (by Alexis Greene) *6. Our Bodies, Ourselves * Memoir of a Sexual Woman (by Sharman MacDonald) * An Excerpt from the Play Sweeping the Nation (by Susan Miller) * Standing at the Crossroads (by Pearl Cleage) *7. Engaging Social Issues, Expressing a Political Outlook (by Gwynn MacDonald) *8. Crossing Borders: A Conversation with Bridget Carpenter, Lynn Nottage, Dael Orlandersmith, and Diana Son * Part Three: The Art of the Playwright *9. Whose Voices Are These? The Arts of Language in the Plays of Suzan-Lori Parks, Paula Vogel, and Diana Son (by Amy S. Green) *10. First-Person Singular: Female Writers Embrace the One-Person Play (by Mandy Greenfield) *11. Women's Imaginations: Experimenting with Theatrical Form (by Carole Woddis) *12. Joking Aside: A Conversation about Comedy with Christopher Durang, Gina Gionfriddo, Sarah Ruhl, and Wendy Wasserstein * Part Four: The Expanding World of Women's Plays *13. The Freedom to Create (by Gurpreet Kaur Bhatti) *14. Beyond the U.S.A, Beyond the U.K. * A View from South Africa (by Fatima Dike) * A View from Australia (by Peta Tait) * A View from New Zealand (by Jean Betts) * A View from Canada (by Judith Thompson) *15. New Voices (by Alexis Greene) *16. Prescriptions for a Playwriting Life * Dear Emily: On Being a Playwright (by Timberlake Wertenbaker) * Afterword (by Bill Blackburn) * Appendix: The Susan Smith Blackburn Prize * About the Contributors * Permissions and Credits * Index
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| 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 it