A “gorgeous neutrality”: social justice and Stephen Crane's documentary anaesthetics
Bibliographic record
Abstract
In contrast to the Jamesian attention to urban domesticity, Stephen Crane's narratives and sketches make homelessness practically a condition of urban being. If the characters populating his cityscapes are not literally homeless, as are those seeking shelter in flophouses in “The Men in the Storm” and “An Experiment in Misery,” then they are usually depicted as psychically or physically a very long way from home, as are the urchins in “An Ominous Baby” and “A Great Mistake,” as well as the adults in “The Broken-Down Van.” Others, such as the titular character in Maggie , are driven away from home or have veritable war zones as homes, as in “A Dark Brown Dog” and George's Mother . In short, Crane's urban homes, if depicted at all, are rather ferocious than sweet. This anti-sentimental depiction of domesticity conforms of course to the late nineteenth-century realist imperative: to expose the sordid, hellish underbelly of modern city life. Thus Crane's city streets are equally troubled. But they do, at least, seem to offer his homeless population certain attractions and pleasures. One main attraction, literally in the psycho-physiological sense, is the crowd. Crane's street people are chronically forming crowds: to battle an opposing gang of urchins, to demand charity, to eat lunch in a restaurant; to look at a burning building, a fallen man, a traffic accident, or simply at the crowd itself. Many of Crane's crowd configurations, I want to suggest, contribute to the imagination of a kind of home away from home.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.002 | 0.003 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.011 | 0.038 |
| Scholarly communication | 0.007 | 0.003 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.003 | 0.007 |
| Insufficient payload (model declined to judge) | 0.004 | 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 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".