Witch as Woman: Crones, Maidens, and Mothers in The Witch of Edmonton and A Discovery of Witches
Bibliographic record
Abstract
My research focuses on representations of the controversial and culturally loaded figure of the witch and the way in which she has been represented in fiction. Through an exploration of two very different representations of witches, the 1621 play The Witch of Edmonton and the twenty-first century fantasy All Souls trilogy, this thesis unpacks the longstanding negative associations of the witch. The historical witch stereotyped as evil, old, deviant, and socially marginalised, compared to the way in which contemporary depictions of the witch have refashioned the figure into an autonomous heroine capable of balancing her powers with work, romance, and social responsibility. Throughout, my focus is on the gendered nature of the witch. The play The Witch of Edmonton (1621) by William Rowley, Thomas Dekker, and John Ford draws on the historical record and the pamphlet Wonderfull Discoverie of Elizabeth Sawyer, a Witch (1621) by Henry Goodcole. The historical Elizabeth Sawyer was tried and executed as a witch and Goodcole’s pamphlet is representative of the attitudes of the day which vilified the witch as a figure of demonic power and social disruption. The play both endorses the stereotype of Sawyer as a crone who makes a pact with the devil to enact harm on her neighbours and challenges these tropes by insisting that she is a marginalised, poverty- stricken figure who only turns to witchcraft after society labels her as such. In contrast, the All Souls trilogy by Deborah Harkness (2012-2014) reframes the witch as a young, beautiful heroine whose powers are capable of bringing about salvation rather than destruction. By juxtaposing these very different literary witches, this thesis seeks to understand both the social and literary factors that led to the patriarchal vilification of the witch and the cultural shifts that have resulted in the recent reframing of the witch as a figure of feminist power.
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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 | 0.003 | 0.004 |
| 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 | 0.030 |
| Scholarly communication | 0.007 | 0.005 |
| Open science | 0.001 | 0.007 |
| Research integrity | 0.002 | 0.006 |
| Insufficient payload (model declined to judge) | 0.007 | 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".