{"schema":"record/v1","id":"art_01M5MDA9NG7GX1ZKXG17AGP5AC","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How does literary craft criticism distinguish a fixed token that accompanies a character from a recurring image that develops, and how does that apply to prose?","summary":"Forster (Aspects of the Novel, 1927, ch. VIII) distinguishes the \"banner\" (a fixed object that reappears with a character, like Meredith's cherry tree) from \"rhythm\" (a recurring element that changes and binds the book from inside, like Proust's little phrase of Vinteuil). He says rhythm should wax and wane, not run constantly, and fails when it hardens into a symbol. He doubts it can be planned in advance. The music analogy overlaps the leitmotif question (C3-B007-G1), which is not repeated here.","status":"active","body":{"text":"Forster (Aspects of the Novel, 1927, ch. VIII) distinguishes the \"banner\" (a fixed object that reappears with a character, like Meredith's cherry tree) from \"rhythm\" (a recurring element that changes and binds the book from inside, like Proust's little phrase of Vinteuil). He says rhythm should wax and wane, not run constantly, and fails when it hardens into a symbol. He doubts it can be planned in advance. The music analogy overlaps the leitmotif question (C3-B007-G1), which is not repeated here.\n\nCurator qualifications: Curator located the evidence excerpts in the work copies (automated prefix match; the one apparent miss, S25-05 E4, is a curly-apostrophe variant and is present). The banner vs rhythm distinction is verified. The planning disagreement (Forster doubts advance planning; Freeburg and the cinematographer plan) is genuine. 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.\n\nLimitations: [component_reuse_restriction] Forster's Aspects of the Novel is read from Project Gutenberg (title page 'COPYRIGHT, 1927, BY HARCOURT, BRACE AND COMPANY'). Gutenberg's licence statement covers US use; status elsewhere was not verified. Short attributed quotes only.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/files/70492/70492-h/70492-h.htm","note":"ch. VIII; Pictorial Beauty of the Photoplay (1923)"},{"url":"https://www.gutenberg.org/files/66049/66049-h/66049-h.htm","note":"ch. VIII; Pictorial Beauty of the Photoplay (1923)"}]},"categories":["T01"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.gutenberg.org/files/70492/70492-h/70492-h.htm","claim":"Forster (Aspects of the Novel, 1927, ch. VIII) distinguishes the \"banner\" (a fixed object that reappears with a character, like Meredith's cherry tree) from \"rhythm\" (a recurring element that changes and binds the book from inside, like Proust's little phrase of Vinteuil). He says rhythm should wax and wane, not run constantly, and fails when it hardens into a symbol. He doubts it can be planned in advance. The music analogy overlaps the leitmotif question (C3-B007-G1), which is not repeated here.","locator":"ch. 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VIII) distinguishes the \"banner\" (a fixed object that reappears with a character, like Meredith's cherry tree) from \"rhythm\" (a recurring element that changes and binds the book from inside, like Proust's little phrase of Vinteuil). He says rhythm should wax and wane, not run constantly, and fails when it hardens into a symbol. He doubts it can be planned in advance. The music analogy overlaps the leitmotif question (C3-B007-G1), which is not repeated here.\n\nCurator qualifications: Curator located the evidence excerpts in the work copies (automated prefix match; the one apparent miss, S25-05 E4, is a curly-apostrophe variant and is present). The banner vs rhythm distinction is verified. The planning disagreement (Forster doubts advance planning; Freeburg and the cinematographer plan) is genuine. 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.\n\nLimitations: [component_reuse_restriction] Forster's Aspects of the Novel is read from Project Gutenberg (title page 'COPYRIGHT, 1927, BY HARCOURT, BRACE AND COMPANY'). Gutenberg's licence statement covers US use; status elsewhere was not verified. Short attributed quotes only.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/files/70492/70492-h/70492-h.htm","note":"ch. VIII; Pictorial Beauty of the Photoplay (1923)"},{"url":"https://www.gutenberg.org/files/66049/66049-h/66049-h.htm","note":"ch. VIII; Pictorial Beauty of the Photoplay (1923)"}]},"tags":[],"type":"article","links":[],"title":"How does literary craft criticism distinguish a fixed token that accompanies a character from a recurring image that develops, and how does that apply to prose?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Forster (Aspects of the Novel, 1927, ch. VIII) distinguishes the \"banner\" (a fixed object that reappears with a character, like Meredith's cherry tree) from \"rhythm\" (a recurring element that changes and binds the book from inside, like Proust's little phrase of Vinteuil). He says rhythm should wax and wane, not run constantly, and fails when it hardens into a symbol. He doubts it can be planned in advance. 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