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The Retrieval-Augmented Generation (RAG) framework enhances Large Language Models (LLMs) by retrieving relevant knowledge to broaden their knowledge boundaries and mitigate factual hallucinations stemming from knowledge gaps. However, the RAG Framework faces challenges in effective knowledge retrieval and utilization; invalid or misused knowledge will interfere with LLM generation, reducing reasoning efficiency and answer quality. Existing RAG methods address these issues by decomposing and expanding queries, introducing special knowledge structures, and using reasoning process evaluation and feedback. However, the linear reasoning structures limit complex thought transformations and reasoning based on intricate queries. Additionally, knowledge retrieval and utilization are decoupled from reasoning and answer generation, hindering effective knowledge support during answer generation. To address these limitations, we propose the CRP-RAG framework, which employs reasoning graphs to model complex query reasoning processes more comprehensively and accurately. CRP-RAG guides knowledge retrieval, aggregation, and evaluation through reasoning graphs, dynamically adjusting the reasoning path based on evaluation results and selecting knowledge-sufficiency paths for answer generation. CRP-RAG outperforms the best LLM and RAG baselines by 2.46 in open-domain QA, 7.43 in multi-hop reasoning, and 4.2 in factual verification. Experiments also show the superior factual consistency and robustness of CRP-RAG over existing RAG methods. Extensive analyses confirm its accurate and fact-faithful reasoning and answer generation for complex queries.

The Shakespearean actor is a readily recognisable figure within the transatlantic cultural landscape. They may move regularly between the theatrical environs, which garnered them the appellation and more mainstream fare in television or film, but they are always, somehow, Shakespearean. However, if easily identified, the Shakespearean actor is harder to define. For example, the multi-volume Great Shakespeareans shortlists individuals who, in editors Peter Holland’s and Adrian Poole’s words, have had ‘the greatest influence on both the interpretation, understanding and reception of Shakespeare, both nationally and internationally’). But such scholarly endeavours consistently stop short of describing any social or cultural function which the Shakespearean may fill or any implicit ideological work at hand in the naming of actors as Shakespeareans. These omissions are all the more curious because, while its attribution is inherently positive in the examples above, popular culture also abounds with rather less illustrious Shakespeareans. Consider, for instance, how Niles and Frasier Crane watched, appalled, while their childhood icon, Jackson Hedley (Derek Jacobi), gurned and groaned on stage. Playing a caricature of himself in Extras, meanwhile, Ian McKellen confides that he knew what to say in The Lord of the Rings because ‘the words were written down for me’. Welcome to bad Shakespeare: a trope that has existed for as long as there has been the potential for ‘good’ Shakespeareanism. For evidence, one needs only consider Hamlet’s stubborn insistence that actors deliver their lines ‘trippingly on the tongue’. Bad Shakespeare has no such luck, however. From Mr Wopsle in Great Expectations to Alan Rickman’s frustrated thespian-turned-science-fiction-star in Galaxy Quest (‘How did I come to this? I played Richard III. There were five curtain calls’), these Shakespeareans are hammy, self-congratulating and embarrassing; they exhibit what David McGowan calls ‘visible acting’. Reversing a more typical focus on prestige and skill, this article will reflect on what it says about our relationship to Shakespeare that we take such evident and knowing pleasure in watching highly respected performers apparently fail at their jobs. Building on film studies and scholarship on badfilms, I will consider whether these fictional performances of failure only reify existing norms of ‘good’ performance or if they offer more subversive possibilities.

Y Tom Gormican narrates a sequence from his film featuring Nicolas Cage and Pedro Pascal.