FAZENDO GRAÇA COM O ESPORTE: JAMES FITZMAURICE, ROBERT RIPLEY E A ARTE DO CARTUNISMO ESPORTIVO EM VANCOUVER (1907-1918)
Bibliographic record
Abstract
Este estudo observa a emergencia do cartunismo esportivo em jornais impressos no inicio do seculo XX por meio de uma comparacao entre as imagens paroquiais do cartunista de Vancouver (Columbia Britânica) James Fitzmaurice e os cartuns esportivos de Robert Ripley, feitos nos EUA e distribuidos para diversos jornais. O estudo examina as vidas profissionais dos cartunistas esportivos estadunidenses mais conhecidos para, entao, focar no trabalho do cartunista do Vancouver Province , James B. Fitzmaurice, durante o periodo pre-guerra, e em como essas imagens foram produzidas a partir de referencias locais. Com a chegada, em 1914, da distribuicao dos cartuns esportivos de Robert Ripley, da cidade de Nova York, os leitores de Vancouver recebem imagens do “mundo do esporte” que se distinguiam dos significados visuais mais ecleticos ligados a experiencia local caracteristicos do trabalho de Fitzmaurice. Esse estudo sugere que o contraste entre Fitzmaurice e Ripley marca a diferenca entre dois niveis de consumo da cultura esportiva e que a cultura visual agiu como um importante canal para o crescimento de uma consciencia esportiva internacional compartilhada. Palavras-chave : Fitzmaurice; Ripley; cartum; Vancouver; esporte. Abstract: This study looks at the emergence of newspaper sport cartooning in the early twentieth century through a comparison of the parochial images of Vancouver British Columbia cartoonist James Fitzmaurice and the syndicated American sports cartoons of Robert Ripley. The study examines the working lives ofthe best known American sport cartoonists and then focuses on the work of Vancouver Province staff cartoonist James B. Fitzmaurice during the prewar period and how these images grew out of local experience. With the arrival of the syndicated sports cartoons of New York City cartoonist Robert Ripley in 1914, Vancouver readers are given “world of sport” images that differed from the more eclectic visual meanings tied to local experience that characterized Fitzmaurice's work. This study suggests that the contrast between Fitzmaurice and Ripley marks the difference between two levels of sport culture consumption and that visual culture acted as an important conduit for the growth ofshared international sport consciousness. Keywords : Fitzmaurice; Ripley; cartoon; Vancouver; sport.
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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 | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.019 | 0.006 |
| Scholarly communication | 0.008 | 0.001 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.006 | 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".