Bibliographic record
Abstract
Stacy Wolf’s Changed for Good is a carefully researched, elegantly written, and methodologically innovative feminist analysis of Broadway musicals from the 1950s to the early twenty-first century. Where Wolf’s previous monograph, A Problem like Maria: Gender and Sexuality in the American Musical (2002), focused specifically on the careers and performances of four celebrated Broadway stars from the 1950s and early 1960s, Changed for Good emphasizes how musicals have contributed to, and in some cases even provoked, discussions about the role of women in American society over a sixty-year period. As Wolf explains, Changed for Good looks at and listens to the different ways that women actors and female characters interact with all aspects of the performance, from singing together in duets to dancing alone center stage, from participating in a community’s formation to becoming a cog in the theatrical machinery. (p. 6) Each chapter examines a small cluster of musicals from a single decade that together reflect major changes in the social, political, and cultural representation of women. Rather than discuss all aspects of the performance in every chapter, Wolf wisely builds her chapters around the analysis of a single musical convention. So, for example, in the first chapter, “The 1950s: ‘Marry the Man Today,’” Wolf looks at three different examples of female duets from Guys and Dolls (1950), Wonderful Town (1953), and West Side Story (1957) to suggest that the aural and visual effects created by two women singing together onstage may have undermined the otherwise dominant heterosexual/sexist ideology that characterized most musicals of the period. Later, in “The 1980s: ‘The Phantom of the Opera Is There inside My Mind,’” Wolf brilliantly demonstrates how the emphasis on huge scenic effects in megamusicals such as Les Miserables (1985) and Phantom of the Opera (1986) literally and figuratively diminished the female body onstage, a scenographic effect that she sees as another example of the 1980s backlash against the advances of 1970s feminism.
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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 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.015 | 0.023 |
| Scholarly communication | 0.007 | 0.008 |
| Open science | 0.001 | 0.006 |
| Research integrity | 0.003 | 0.007 |
| Insufficient payload (model declined to judge) | 0.008 | 0.001 |
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".