Bibliographic record
Abstract
Dixie Bohemia: A French Quarter Circle in the 1920s. By John Shelton Reed. Walter Lynwood Fleming Lectures in Southern History. (Baton Rouge: Louisiana State University Press, 2012. Pp. [x], 334. $38.00, ISBN 978-08071-4764-1.) It started as private joke, a teasing to novelist Sherwood Anderson of Winesburg, Ohio (1919) fame, by two young artists named Bill (pp. 1, 3). Anderson, with his third wife in tow, moved from Chicago to New Orleans's French Quarter in the 1920s. The tribute was a slim, amateurish book with the tongue-in-cheek title Sherwood Anderson and Other Famous Creoles: A Gallery of Contemporary New Orleans (1926). Only two of the people in its forty-three portraits, biographical and sketched, were Creoles, and none (save Anderson) were particularly famous--at least not yet. William Faulkner, one of the pranksters, would achieve Nobel Prize celebrity. The other cutup was William Spratling, Faulkner's roommate in a French Quarter garret where they made a game of pinging pedestrians with a pump-action BB gun. Spratling later won acclaim in Taxco, Mexico, for his silver jewelry designs. John Shelton Reed is incapable of writing dull books, and Dixie Bohemia: A French Quarter Circle in the 1920s, an absorbing expansion of his 2011 Fleming Lectures at Louisiana State University, is no exception. A sociologist with a historian's instinct for evidence and irony, Reed is quick to admit that the dozen or so writers, artists, and actors who congregated in the Vieux Carre during Prohibition, rubbing shoulders with early preservationists and a bevy of slumming debutantes, hardly qualified as a sociological group. But they were a social circle by virtue of common interests, shared friendships, and connections to the same institutions. Tulane University, in particular its School of Architecture and the Newcomb College Art School, assembled a lot of the talent. So did New Orleans's hypercompetitive newspaper scene, which kept tabs on their doings in the daily prints. Then there were the institutions the so-called Famous Creoles themselves created, such as the short-lived literary magazine the Double Dealer, which attracted early work by Faulkner, Ernest Hemingway, and Thornton Wilder while serving as flophouse for migratory poets (p. 43). Setting the cultural tone were the Arts and Crafts Club, which no longer exists, and Le Petit Theatre du Vieux Carre, which does. All three entities--magazine, studio, and theater--were funded by wealthy Uptown families, many of them Jewish, whose patronage was essential to survival. One other link tied these faux Creoles together: a self-conscious sense of creating a sort of vest-pocket facsimile of Greenwich Village and the Left Bank (p. …
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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) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.015 | 0.004 |
| Scholarly communication | 0.006 | 0.004 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.050 | 0.008 |
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".