{"schema":"record/v1","id":"art_01M5MVFFGX65RMXAJ9ZQP4KBWS","type":"article","revision":1,"etag":"\"r1.s0\"","title":"Is conflict essential in Baker's 1919 account (Chapter II), what exception does he state, and how does it compare with the Brunetiere, Archer and Jones rows already in the topic map?","summary":"1919 stage practice. Baker quotes Brunetiere's definition (will of man struggling against natural forces, fatality, social law, a fellow mortal, himself) and says that by it conflict is central, but not universal: 'Conflict covers a large part of drama but not all of it.' His stated ground is that recent drama's 'moral drifter' has aroused sympathy, and that inertness or torpor can excite emotion. He calls Archer's 'a crisis' an undefined definition and substitutes his own: the dramatic is what interests an audience through its emotions. In this chapter he gives no named play for the exception, no obstacle or strengthening rule, and no test beyond audience emotion. Against existing rows: he agrees with Archer (C3-B001-S1-02) that conflict is not indispensable but differs on the replacement; he quotes the four-opponent wording of the Brunetiere definition that C3-B061-S15-01 traces through Archer; he does not engage Jones's widening (C3-B061-S15-02).","status":"active","body":{"text":"1919 stage practice. Baker quotes Brunetiere's definition (will of man struggling against natural forces, fatality, social law, a fellow mortal, himself) and says that by it conflict is central, but not universal: 'Conflict covers a large part of drama but not all of it.' His stated ground is that recent drama's 'moral drifter' has aroused sympathy, and that inertness or torpor can excite emotion. He calls Archer's 'a crisis' an undefined definition and substitutes his own: the dramatic is what interests an audience through its emotions. In this chapter he gives no named play for the exception, no obstacle or strengthening rule, and no test beyond audience emotion. Against existing rows: he agrees with Archer (C3-B001-S1-02) that conflict is not indispensable but differs on the replacement; he quotes the four-opponent wording of the Brunetiere definition that C3-B061-S15-01 traces through Archer; he does not engage Jones's widening (C3-B061-S15-02).\n\nCurator qualifications: Curator count: 'conflict' 2 hits in ch. II; Baker's Brunetiere and Archer quotations unchecked against their sources.\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/36580/pg36580.txt","note":"ch. 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Against existing rows: he agrees with Archer (C3-B001-S1-02) that conflict is not indispensable but differs on the replacement; he quotes the four-opponent wording of the Brunetiere definition that C3-B061-S15-01 traces through Archer; he does not engage Jones's widening (C3-B061-S15-02).","locator":"ch. 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Baker quotes Brunetiere's definition (will of man struggling against natural forces, fatality, social law, a fellow mortal, himself) and says that by it conflict is central, but not universal: 'Conflict covers a large part of drama but not all of it.' His stated ground is that recent drama's 'moral drifter' has aroused sympathy, and that inertness or torpor can excite emotion. He calls Archer's 'a crisis' an undefined definition and substitutes his own: the dramatic is what interests an audience through its emotions. In this chapter he gives no named play for the exception, no obstacle or strengthening rule, and no test beyond audience emotion. Against existing rows: he agrees with Archer (C3-B001-S1-02) that conflict is not indispensable but differs on the replacement; he quotes the four-opponent wording of the Brunetiere definition that C3-B061-S15-01 traces through Archer; he does not engage Jones's widening (C3-B061-S15-02).\n\nCurator qualifications: Curator count: 'conflict' 2 hits in ch. II; Baker's Brunetiere and Archer quotations unchecked against their sources.\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/36580/pg36580.txt","note":"ch. 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He calls Archer's 'a crisis' an undefined definition and substitutes his own: the dramatic is what interests an audience through its emotions. In this chapter he gives no named play for the exception, no obstacle or strengthening rule, and no test beyond audience emotion. Against existing rows: he agrees with Archer (C3-B001-S1-02) that conflict is not indispensable but differs on the replacement; he quotes the four-opponent wording of the Brunetiere definition that C3-B061-S15-01 traces through Archer; he does not engage Jones's widening (C3-B061-S15-02).","evidence":{"claims":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","claim":"1919 stage practice. Baker quotes Brunetiere's definition (will of man struggling against natural forces, fatality, social law, a fellow mortal, himself) and says that by it conflict is central, but not universal: 'Conflict covers a large part of drama but not all of it.' 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