“I cannot <i>live</i> without a macaroon!” Food, Hunger, and the Dangers of Modern American Culture in Edna St. Vincent Millay's <i>Aria da Capo</i>
Bibliographic record
Abstract
Most theatre-goers in 1919 would have recognized the dual significance of the banquet in Edna St. Vincent Millay's Aria da Capo as a reference to both the war effort and elite popular culture. Two years earlier, the Food Administration had launched an aggressive publicity and volunteer campaign for food conservation. The decadent food being eaten in the opening scene of the play, however, raises questions about the effectiveness of these efforts and the propaganda used to achieve them. At the same time, this banquet offers a parody of the growing entertainment and restaurant culture in New York City. By 1913, New York was the restaurant capital of the United States. Lobster palaces and other ostentatious dining establishments were hotspots for prosperous urbanites and the uptown theatre crowd – people seeking an escape from everyday life to indulge in material pleasures and the illusions of extreme wealth. The meanings associated with food here reinforce Millay's message about some of the dangerous excesses of American culture more broadly – a culture that often valued escapism over social and political engagement and encouraged audiences to forget history rather than to contemplate its consequences. Just as this play condemns the brutality of war and the coercive power of nationalistic propaganda, it warns that the escapist pleasures of entertainment and modernist art could be socially irresponsible as well. They could, as the title of the play suggests, lead people and nations into thoughtless repetition, into committing the same atrocities over and over again.
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How this classification was reachedexpand
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 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 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 teacher head, 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".