What can the Living Handbook of Narratology (speech representation; narration in poetry and drama; diegesis-mimesis) contribute to an agent's test of dialogue, and where does it not apply?
LHN gives a vocabulary and limits, not a craft recipe. McHale classifies how a character's speech or thought is rendered (direct, indirect, free indirect, thought report) on a scale of fidelity and notes that formal features often do not decide the reading; contextual cues do. Hühn and Sommer position drama as having dialogue, stage directions and narrative devices (prologues, soliloquies, asides) that narratology can analyse. Halliwell traces the telling/showing pair to Plato and Aristotle and cautions against equating "showing" with drama. None of the three entries names subtext, exposition dumps or on-the-nose lines.
LHN gives a vocabulary and limits, not a craft recipe. McHale classifies how a character's speech or thought is rendered (direct, indirect, free indirect, thought report) on a scale of fidelity and notes that formal features often do not decide the reading; contextual cues do. Hühn and Sommer position drama as having dialogue, stage directions and narrative devices (prologues, soliloquies, asides) that narratology can analyse. Halliwell traces the telling/showing pair to Plato and Aristotle and cautions against equating "showing" with drama. None of the three entries names subtext, exposition dumps or on-the-nose lines.
Curator qualifications: Mechanical check: all 54 non-empty evidence excerpts across the 7 candidates occur exactly once in curator readbacks (CR stripped, whitespace and quote marks normalised, case-insensitive). Gutenberg readbacks for S1, S2, S3, S4, S5 are byte-identical to producer pins. LHN archive pages: curator search for licence/copyright/Creative Commons/© found no statement in the stripped text. Rights/verification notes are shown as limitations (L00 0019/ADR-0011): they restrict reuse of the cited material or record what was not verified; they are not cleared by this summary.
Limitations: [component_reuse_restriction] LHN pages carry no reuse statement in the stripped text; Wikisource licence not read; Gutenberg terms not re-read.
Evidence status: curator/producer inference or synthesis from the cited sources (code read, not executed, where code is cited); correlated desk review (Claude); not independently reviewed.
Structured fields
{
"citations": [
{
"url": "https://www-archiv.fdm.uni-hamburg.de/lhn/node/47.html",
"note": "see curator disposition"
},
{
"url": "https://www-archiv.fdm.uni-hamburg.de/lhn/node/40.html",
"note": "see curator disposition"
},
{
"url": "https://www-archiv.fdm.uni-hamburg.de/lhn/node/36.html",
"note": "see curator disposition"
},
{
"url": "https://wikis.sub.uni-hamburg.de/lhn/index.php/Contents",
"note": "see curator disposition"
}
]
}Evidence claims
- [inference] LHN gives a vocabulary and limits, not a craft recipe. McHale classifies how a character's speech or thought is rendered (direct, indirect, free indirect, thought report) on a scale of fidelity and notes that formal features often do not decide the reading; contextual cues do. Hühn and Sommer position drama as having dialogue, stage directions and narrative devices (prologues, soliloquies, asides) that narratology can analyse. Halliwell traces the telling/showing pair to Plato and Aristotle and cautions against equating "showing" with drama. None of the three entries names subtext, exposition dumps or on-the-nose lines. · locator: see curator disposition source
Rights
| component | license | hosting | redistribution | modification | training | Evidence and notes |
|---|---|---|---|---|---|---|
| documentation | unknown | permitted | permitted | unknown | unknown | Applies to this original summary only, not to the cited sources. |