Bibliographic record
Abstract
Red Riding Hood and Wolf in Bed: Modernism's Tales. By Ann Martin. Toronto: University of Toronto Press, 2007. 199 pp., bibliography, index. Modernisms Tales, subtitle of Ann Martin's book, raises expectations of critique. Many of artists and commonly associated with European modernism were attracted to what we could call fairy-tale thinking in particular, faith in a happily ever after. On one hand there's polemical new beginnings of likes of futurism and imagism, credos of which posit a slate wiped clean of accumulated works of recent history; on other, projected ever afters of more radically conservative modernists, for whom recently literate and urbanized masses needed herding - or worse - in interests of a new order of elite. That these very masses might be reading fairy tales, and so perpetuating threat of a tide of popular culture, is only one of many ironies of modernism's dangerously Utopian tendencies. Red Riding Hood and Wolfin Bed doesn't quite follow this line, but it's an indication of richness of conjunction of modernism and fairy tale that it should give rise to a host of interpretative possibilities. conjunction itself is wonderfully unexpected, leading this reader to imagine a series of similarly counterintuitive meetings: Romanticism and Circus? Nouveau Roman and Folktale? Myth is a far more common pairing for modernism, stemming from T S. Eliot's infamously tendentious essay on mythical method employed in Joyce's Ulysses. Martin rather sidesteps this dominant paradigm, but again, her attention is directed elsewhere. central three chapters of book chart allusions to and dealings with specific canonical fairy tales in work of three modernist writers: James Joyce, Virginia Woolf, and Dj una Barnes. rationale and justification for such a project is made at various points in course of a long and wide-ranging first chapter dealing with history of fairy tale - in particular, during nineteenth century, and so with genre as it was inherited by modernist artists. Martin suggests that fairy tale is more than simply one of many worldly objects swept up in net of encyclopedic modernist text. fairy tale is more than just another of modernism's intertexts. In terms of content, central tales discussed Sleeping Beauty, Little Red Riding Hood, Cinderella, Beauty and Beast, The Fisherman and His Wife, and Snow White - explore individual's role in a modern urban society. They are predicated upon dynamics of consumerism and subject's performance of a gendered, classed identity . . . texts that reflect and convey modern attitudes towards sexuality, social mobility, urbanity, and commodity culture (17). That is, genre of fairy tale, together with its constituent dramas, is singularly entangled in very discourses of with which modernist were engaged, from commerce and market to fashion and commodity, together with conflicting attractions of tradition and innovation. For Martin, Fairy tales come to reflect . . . fluctuating experience of . . . and most importantly, agency of subject in a modern consumer society (40). In addition to these social and historical matters, Martin also makes a general claim for genre of fairy tale as peculiarly related to modernism. Beginning with reference to the multiple interpretative possibilities that texts represent for modernist writers (8), she goes on to offer a significant proposal: It is fairy tale's involvement in multiple contexts that marks its potential as a system of reference in work of Joyce, Woolf, and Barnes. In their instability and variety, fairy tales open up a space for reader in text. . . . [F] airy tales are used by Joyce, Woolf, and Barnes as modernist works; that is, as texts that reflect instability and variability that is experience of modernity (12). …
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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 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 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".