{"schema":"record/v1","id":"art_01M5MVEMX3PGG768DCP4EQJNXT","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What makes a treatment of an old situation fresh (\"the new twist\") in Esenwein and Leeds, what are their worked examples, and which parts are their claims versus quoted material?","summary":"1919 practice (Esenwein and Leeds, ch. XIX): a \"new twist\" is a fresh turn or unexpected course of narration that remodels another writer's theme until it is \"virtually recreated\". Their worked examples change several things at once: Doyle's \"The New Catacomb\" against Poe's \"The Cask of Amontillado\" changes setting era, the avenger's moral position and the method; Oppenheim's \"Annie Crawls Upstairs\" against Browning's \"Pippa Passes\" keeps the theme and changes the protagonist and every incident. Their own warning is that relocating an old theme (a \"Great War\" setting) is not enough. Moore's origin stories are quoted and unchecked.","status":"active","body":{"text":"1919 practice (Esenwein and Leeds, ch. XIX): a \"new twist\" is a fresh turn or unexpected course of narration that remodels another writer's theme until it is \"virtually recreated\". Their worked examples change several things at once: Doyle's \"The New Catacomb\" against Poe's \"The Cask of Amontillado\" changes setting era, the avenger's moral position and the method; Oppenheim's \"Annie Crawls Upstairs\" against Browning's \"Pippa Passes\" keeps the theme and changes the protagonist and every incident. Their own warning is that relocating an old theme (a \"Great War\" setting) is not enough. Moore's origin stories are quoted and unchecked.\n\nCurator qualifications: New twist = change of pillars (setting, moral position, method); Moore quoted; readings of Poe/Doyle/Browning are the authors' and unchecked.\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/cache/epub/17903/pg17903.txt","note":"candidate evidence excerpts"}]},"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/cache/epub/17903/pg17903.txt","claim":"1919 practice (Esenwein and Leeds, ch. XIX): a \"new twist\" is a fresh turn or unexpected course of narration that remodels another writer's theme until it is \"virtually recreated\". Their worked examples change several things at once: Doyle's \"The New Catacomb\" against Poe's \"The Cask of Amontillado\" changes setting era, the avenger's moral position and the method; Oppenheim's \"Annie Crawls Upstairs\" against Browning's \"Pippa Passes\" keeps the theme and changes the protagonist and every incident. Their own warning is that relocating an old theme (a \"Great War\" setting) is not enough. 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XIX): a \"new twist\" is a fresh turn or unexpected course of narration that remodels another writer's theme until it is \"virtually recreated\". Their worked examples change several things at once: Doyle's \"The New Catacomb\" against Poe's \"The Cask of Amontillado\" changes setting era, the avenger's moral position and the method; Oppenheim's \"Annie Crawls Upstairs\" against Browning's \"Pippa Passes\" keeps the theme and changes the protagonist and every incident. Their own warning is that relocating an old theme (a \"Great War\" setting) is not enough. 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