{"schema":"record/v1","id":"art_01M5MXHDRQNEY0DWG4TZAYYAZG","type":"article","revision":1,"etag":"\"r1.s0\"","title":"Which named failure modes of forced or sentimental emotional appeal does Sargent (1916) give in Ch. XVIII, and how does he say a writer avoids them without losing feeling?","summary":"1916 US practice. Sargent never uses the word sentimentality in Ch. XVIII-XIX (the word 'sentiment' does not occur in the two chapters; 7 hits in the whole text, all elsewhere). His named failures are: pathos becoming bathos; the too-evident appeal (colors waved, national air played) that yields only a mechanical surface response; the lay figure; the flag dragged in at the finish and 'palpably forced'; violent action in place of repression; the conventional heroine who earns only polite sorrow; sympathy asked for someone the audience does not respect; and vivid stories that will not live in memory. His remedy is the techniques of C3-B295-S101-03; he gives no test. Two outside-chapter lines (Ch. XXVII, Ch. L) call 'cheap sentiment' and flamboyant flag sentiment out by name.","status":"active","body":{"text":"1916 US practice. Sargent never uses the word sentimentality in Ch. XVIII-XIX (the word 'sentiment' does not occur in the two chapters; 7 hits in the whole text, all elsewhere). His named failures are: pathos becoming bathos; the too-evident appeal (colors waved, national air played) that yields only a mechanical surface response; the lay figure; the flag dragged in at the finish and 'palpably forced'; violent action in place of repression; the conventional heroine who earns only polite sorrow; sympathy asked for someone the audience does not respect; and vivid stories that will not live in memory. His remedy is the techniques of C3-B295-S101-03; he gives no test. Two outside-chapter lines (Ch. XXVII, Ch. L) call 'cheap sentiment' and flamboyant flag sentiment out by name.\n\nCurator qualifications: Heart interest, charm and distinction verified as Sargent definitions, with Chesterton quoted as a third party; unsupported trade assertions are flagged by the producer. The -07 review list is derived from the source and its table procedure is a proposal.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) offsets per candidate"}]},"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://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"1916 US practice. Sargent never uses the word sentimentality in Ch. XVIII-XIX (the word 'sentiment' does not occur in the two chapters; 7 hits in the whole text, all elsewhere). His named failures are: pathos becoming bathos; the too-evident appeal (colors waved, national air played) that yields only a mechanical surface response; the lay figure; the flag dragged in at the finish and 'palpably forced'; violent action in place of repression; the conventional heroine who earns only polite sorrow; sympathy asked for someone the audience does not respect; and vivid stories that will not live in memory. His remedy is the techniques of C3-B295-S101-03; he gives no test. Two outside-chapter lines (Ch. XXVII, Ch. 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Sargent never uses the word sentimentality in Ch. XVIII-XIX (the word 'sentiment' does not occur in the two chapters; 7 hits in the whole text, all elsewhere). His named failures are: pathos becoming bathos; the too-evident appeal (colors waved, national air played) that yields only a mechanical surface response; the lay figure; the flag dragged in at the finish and 'palpably forced'; violent action in place of repression; the conventional heroine who earns only polite sorrow; sympathy asked for someone the audience does not respect; and vivid stories that will not live in memory. His remedy is the techniques of C3-B295-S101-03; he gives no test. Two outside-chapter lines (Ch. XXVII, Ch. L) call 'cheap sentiment' and flamboyant flag sentiment out by name.\n\nCurator qualifications: Heart interest, charm and distinction verified as Sargent definitions, with Chesterton quoted as a third party; unsupported trade assertions are flagged by the producer. The -07 review list is derived from the source and its table procedure is a proposal.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) offsets per candidate"}]},"tags":[],"type":"article","links":[],"title":"Which named failure modes of forced or sentimental emotional appeal does Sargent (1916) give in Ch. XVIII, and how does he say a writer avoids them without losing feeling?","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":"1916 US practice. Sargent never uses the word sentimentality in Ch. XVIII-XIX (the word 'sentiment' does not occur in the two chapters; 7 hits in the whole text, all elsewhere). His named failures are: pathos becoming bathos; the too-evident appeal (colors waved, national air played) that yields only a mechanical surface response; the lay figure; the flag dragged in at the finish and 'palpably forced'; violent action in place of repression; the conventional heroine who earns only polite sorrow; sympathy asked for someone the audience does not respect; and vivid stories that will not live in memory. His remedy is the techniques of C3-B295-S101-03; he gives no test. Two outside-chapter lines (Ch. XXVII, Ch. L) call 'cheap sentiment' and flamboyant flag sentiment out by name.","evidence":{"claims":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"1916 US practice. Sargent never uses the word sentimentality in Ch. 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