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To systematically review methods developed and employed to evaluate the diagnostic accuracy of medical test when there is a missing or no gold standard. Articles that proposed or applied any methods to evaluate the diagnostic accuracy of medical test(s) in the absence of gold standard were reviewed. The protocol for this review was registered in PROSPERO (CRD42018089349). Identified methods were classified into four main groups: methods employed when there is a missing gold standard; correction methods (which make adjustment for an imperfect reference standard with known diagnostic accuracy measures); methods employed to evaluate a medical test using multiple imperfect reference standards; and other methods, like agreement studies, and a mixed group of alternative study designs. Fifty-one statistical methods were identified from the review that were developed to evaluate medical test(s) when the true disease status of some participants is unverified with the gold standard. Seven correction methods were identified and four methods were identified to evaluate medical test(s) using multiple imperfect reference standards. Flow-diagrams were developed to guide the selection of appropriate methods. Various methods have been proposed to evaluate medical test(s) in the absence of a gold standard for some or all participants in a diagnostic accuracy study. These methods depend on the availability of the gold standard, its' application to the participants in the study and the availability of alternative reference standard(s). The clinical application of some of these methods, especially methods developed when there is missing gold standard is however limited. This may be due to the complexity of these methods and/or a disconnection between the fields of expertise of those who develop (e.g. mathematicians) and those who employ the methods (e.g. clinical researchers). This review aims to help close this gap with our classification and guidance tools.

Hugh Grady's Shakespeare and Impure Aesthetics (2012), for example, probes some of the same borderline cases in Kant, such as the attractive and the charming, that Ngai takes up in her analysis, and Richard Burt was an early adapter of infantile affects to Shakespeare studies in his sex and media exposé, Unspeakable ShaXXXspeares: Queer Theory and American Kiddie Culture (1998), which included a transnational as well as intermedial dimension.2 In forthcoming work, Julian Yates uses Ngai to test (taste) the cuteness of oranges: \"it's certainly handy, lends itself to the hand, befriends handedness, naturalizes itself to the fact of hands. [...]Ellen Mackay, who asked a series of provocative questions at the original panel, has offered a response. In Kenneth Macmillan's choreography of the Prokofiev ballet, Juliet often enters with a stuffed animal.5 In a 2015 performance in Orange County, Juliet, played by tiny teen actress and gymnast Nikki SooHoo (The Lovely Bones; Stick It) entered wearing a Hello Kitty backpack, tracing the circuit between Shakespearean and Asian cutifications documented by Ryuta Minami (Romeo and Juliet).6 Also in this volume, Viola Timm takes up D. W. Winnicott's theory of the transitional object-emblematized above all by teddy bears-as a key to the cute:7 The symbolic order inherited from the mother and placed in a relation between the internal and external world through the experience of the transitional object is much richer, infinitely variable, and more satisfying than the communal symbolic order. Thread, ladder, and hair, cute objects that both promise connectivity and preserve minor distances, belong to and figure the erotic and generic lability of the drama, their delicacy gilding and padding the sadomasochistic edge of the transitional object.9 Juliet's waltz among transitional stages of development carries the play along with it, as it ebbs and flows among medieval, Renaissance, and modern moments, churning up alluvial sources and depositing them in new media formations, including mass-marketed ones: