“HOW DOES YOUR COLLAR SUIT ME?”: THE HUMAN ANIMAL IN THE RSPCA'S<i>ANIMAL WORLD</i>AND<i>BAND OF MERCY</i>
Bibliographic record
Abstract
There is a central contradictionin human relationships with animals: as Erica Fudge notes, “We live with animals, we recognize them, we even name some of them, but at the same time we use them as if they were inanimate, as if they were objects” (8). Such a contradiction is also, of course, present in human interactions, in which power relations allow for the objectification of one human being by another. In an analysis of images and texts produced by the Royal Society for the Prevention of Cruelty to Animals (RSPCA) in the nineteenth-century, I want to examine the overlap in representations of animals and humans as subject to objectification and control. One common way of critiquing human treatment of animals within the RSPCA's journals,Animal WorldandBand of Mercy, was to have humans trade places with animals: having boys fantastically shrunk to the size of the animals they tortured, for example, or imagining the horrors of vivisection when experienced by humans. Such imaginative exercises were meant to defamiliarize animal usage by implying a shared experience of suffering: what was wrong for a human was clearly just as wrong for an animal. However, I argue that some of the images employed by the society suggest the opposite; instead of constructing animal cruelty in a new light, these images instead work to underline the shared proximity of particular humans with animals. In texts that focus specifically upon humans wearing animal bonds – reins, collars, and muzzles – the RSPCA's anti-cruelty discourse both critiqued the tools of bondage and, I suggest, invited the audience to see deep connections between animals and the humans taking their place. Such connections ultimately weaken the force of the animal/human reversal as an animal rights strategy, suggesting as they do that humans themselves often have use value in economies of labor, affect, and are subject to the same power relations that produce an animal as “animal.”
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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 | 0.005 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.013 | 0.048 |
| Scholarly communication | 0.007 | 0.008 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.006 | 0.009 |
| Insufficient payload (model declined to judge) | 0.003 | 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".