{"schema":"record/v1","id":"art_01M5MVJ0R31G842QZY3ZFHH95H","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How does Phillips (1914) relate visualization to action and to vocabulary, and does his vocabulary advice favour concrete verbs and nouns over abstractions?","summary":"1914 practice (Phillips). Chapter V redefines action as 'the connected series of events', not violent movement, and links deeper emotion to repression. Its vocabulary advice is about breadth and exactness: 'the language of the photoplay is the language of the dictionary', one right word per situation; 'inexpressible' is a confession of weakness. It does not contrast concrete with abstract words. The concrete-versus-abstract style rule sits elsewhere: Part III Ch. V (inside the block he labels Example 82) says the verb is the 'action word' and 'have no more nouns than you want the reader to see objects, and no object unless it is clearly visible'; Part I Ch. VIII speaks of the 'camera's eye'. Phillips presents Chapter V's wide vocabulary and Example 82's visible-nouns rule as separate points, and the lead's reading is that they work at two layers (what the writer can express versus what the scenario names).","status":"active","body":{"text":"1914 practice (Phillips). Chapter V redefines action as 'the connected series of events', not violent movement, and links deeper emotion to repression. Its vocabulary advice is about breadth and exactness: 'the language of the photoplay is the language of the dictionary', one right word per situation; 'inexpressible' is a confession of weakness. It does not contrast concrete with abstract words. The concrete-versus-abstract style rule sits elsewhere: Part III Ch. V (inside the block he labels Example 82) says the verb is the 'action word' and 'have no more nouns than you want the reader to see objects, and no object unless it is clearly visible'; Part I Ch. VIII speaks of the 'camera's eye'. Phillips presents Chapter V's wide vocabulary and Example 82's visible-nouns rule as separate points, and the lead's reading is that they work at two layers (what the writer can express versus what the scenario names).\n\nCurator qualifications: Visible-noun rule is outside Ch. V and inside a labelled example block; Ch. V itself asks for breadth and exactness of vocabulary.\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/70937/pg70937.txt","note":"Part III Ch. V (EXAMPLE 82 block)"}]},"categories":["T01","T02"],"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/70937/pg70937.txt","claim":"1914 practice (Phillips). 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Chapter V redefines action as 'the connected series of events', not violent movement, and links deeper emotion to repression. Its vocabulary advice is about breadth and exactness: 'the language of the photoplay is the language of the dictionary', one right word per situation; 'inexpressible' is a confession of weakness. It does not contrast concrete with abstract words. The concrete-versus-abstract style rule sits elsewhere: Part III Ch. V (inside the block he labels Example 82) says the verb is the 'action word' and 'have no more nouns than you want the reader to see objects, and no object unless it is clearly visible'; Part I Ch. VIII speaks of the 'camera's eye'. Phillips presents Chapter V's wide vocabulary and Example 82's visible-nouns rule as separate points, and the lead's reading is that they work at two layers (what the writer can express versus what the scenario names).\n\nCurator qualifications: Visible-noun rule is outside Ch. V and inside a labelled example block; Ch. 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Its vocabulary advice is about breadth and exactness: 'the language of the photoplay is the language of the dictionary', one right word per situation; 'inexpressible' is a confession of weakness. It does not contrast concrete with abstract words. The concrete-versus-abstract style rule sits elsewhere: Part III Ch. V (inside the block he labels Example 82) says the verb is the 'action word' and 'have no more nouns than you want the reader to see objects, and no object unless it is clearly visible'; Part I Ch. VIII speaks of the 'camera's eye'. Phillips presents Chapter V's wide vocabulary and Example 82's visible-nouns rule as separate points, and the lead's reading is that they work at two layers (what the writer can express versus what the scenario names).","evidence":{"claims":[{"url":"https://www.gutenberg.org/cache/epub/70937/pg70937.txt","claim":"1914 practice (Phillips). 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