Bibliographic record
Abstract
In this fascinating book, Woody Register concentrates on the public writings, architectural plans, and cultural products of Fred Thompson, the man best known for creating Luna Park in Coney Island and Broadway's Hippodrome Theater. His father was an industrial engineer and an exemplar of industrial production and Victorian manhood, but young Thompson mastered engineering and architecture to build elaborate play machines: from trips to the moon at expositions during the 1890s to rides at Luna Park and elaborate mechanical stage sets at the Hippodrome. In all of these he was a model of a new middle-class ethic of play. Examining Thompson's role in amusement parks, midways, and Broadway shows, Register finds a middle-class male revolt against nineteenth-century masculinity. With Thompson's life a model, he finds that men of the early twentieth century could no longer fulfill their fathers' dictates. The corporation made the emphasis on work, production, self-making, and delay of gratification as markers of masculinity more difficult to follow. While Victorians held that men had to overcome the indulgences of boyish play to be men, the twentieth century offered men a chance to explore the submerged elements of their selves. Thompson's creations all taught that learning to play again as boys would offer men more fun and make them fit for the world of work at the same time. His rides at Luna Park featured escape to indulgent worlds of play, while the Hippodrome's melodramas such as J. M. Barrie's Peter Pan (1904) and George McCutcheon's Brewster's Millions (1902) elevated the boyish spender to new heights. The author also explores the connections to the larger consumer economy of the era, such as department store toy departments, display windows, and children's books, and at the same time examines the many psychological tensions that emerged around male play. Afraid that excessive male spending would render men weak, Thompson retained the identity of a producer of amusement and projected images of indulgence onto his wife and in Porter Emerson Browne's A Fool There Was (1909) onto the female figure of the vamp.
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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 | 0.000 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.005 | 0.003 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.163 | 0.105 |
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".