dramaticFunction
P20800
predicate
Indicates the role or purpose that something serves within the structure or progression of a dramatic work or narrative.
All labels observed (15)
| Label | Occurrences |
|---|---|
| dramaticFunction canonical | 1,476 |
| hasDramaticFunction | 45 |
| dramaticPurpose | 38 |
| dramaticType | 33 |
| diegeticFunction | 18 |
| functionInDrama | 10 |
| dramaturgicalFocus | 6 |
| functionInGreekTragedy | 6 |
| dramaticSignificance | 4 |
| tragicElement | 4 |
| dramaturgicalGoal | 2 |
| functionInEpicPoetry | 2 |
| dramaticFunctionOfLaudisi | 1 |
| dramaturgicalAim | 1 |
| functionInOresteia | 1 |
Description generation (PDg)
The one-sentence description above was generated by prompting gpt-5.1 with the predicate name and this instruction.
Instruction
Given a predicate that represents a relationship or action between entities, generate a one-sentence description explaining its meaning. # Instructions Focus on describing the relationship, not the entities themselves. # Response Format Begin the description with \' Indicates...\'
Input
Predicate: dramaticFunction
Generated description
Indicates the role or purpose that something serves within the structure or progression of a dramatic work or narrative.
Sample triples (1,647)
| Subject | Object |
|---|---|
| Reverend John Hale | embodies the collapse of certainty in the trials ⓘ |
| Reverend John Hale | contrasts with Judge Danforth’s rigidity ⓘ |
| Mary Warren | illustrates how ordinary people become complicit in injustice ⓘ |
| Mary Warren | shows the power of fear in silencing truth ⓘ |
|
Air "How happy could I be with either"
surface form:
"How happy could I be with either"
|
comic relief ⓘ |
|
Air "How happy could I be with either"
surface form:
"How happy could I be with either"
|
character development ⓘ |
| Emilia (Othello character) | truth-teller ⓘ |
| Emilia (Othello character) | foil to Iago ⓘ |
| Emilia (Othello character) | catalyst of the climax ⓘ |
|
Roderigo (character)
surface form:
Roderigo
|
illustrates consequences of gullibility ⓘ |
|
Roderigo (character)
surface form:
Roderigo
|
helps advance Iago’s plots against Othello and Cassio ⓘ |
|
The American Way (pageant/play)
surface form:
The American Way
|
celebration of American democracy ⓘ |
|
The American Way (pageant/play)
surface form:
The American Way
|
exploration of assimilation ⓘ |
|
The American Way (pageant/play)
surface form:
The American Way
|
exploration of national identity ⓘ |
|
Once in a Lifetime (satire of Hollywood)
surface form:
Once in a Lifetime
|
social commentary on Hollywood ⓘ |
|
Once in a Lifetime (satire of Hollywood)
surface form:
Once in a Lifetime
|
comic critique of the film industry ⓘ |
| Calaf | heroic protagonist ⓘ |
| Calaf | suitor of Turandot ⓘ |
| Henry IV, Part 2 | bridges Henry IV, Part 1 and Henry V ⓘ |
| I’m Gonna Wash That Man Right Outa My Hair | character development for Nellie Forbush ⓘ |
| I’m Gonna Wash That Man Right Outa My Hair | comic relief within the musical ⓘ |
| Soliloquy (from "Carousel") | character development song via predicate surface "dramaticType" ⓘ |
| Soliloquy (from "Carousel") | introspective monologue song via predicate surface "dramaticType" ⓘ |
| Something Wonderful | character song ⓘ |
| There Is Nothin' Like a Dame | comic relief ⓘ |
| There Is Nothin' Like a Dame | character development of sailors ⓘ |
| No Way to Stop It | contrasts with Captain von Trapp's moral stance ⓘ |
| No Way to Stop It | illustrates accommodation to Nazi takeover ⓘ |
| In My Own Little Corner | reveals Cinderella's hopes and imagination via predicate surface "dramaticPurpose" ⓘ |
| Pheidippides | drives plot through decision to study with Socrates ⓘ |
| Erinyes | transformed into protectors of civic justice via predicate surface "functionInOresteia" ⓘ |
| Julia Cumson | drives major plot twists via predicate surface "hasDramaticFunction" ⓘ |
| Julia Cumson | creates tension within Channing dynasty via predicate surface "hasDramaticFunction" ⓘ |
| Lady Brute | focus of the play’s title conflict ⓘ |
| Lady Brute | source of much of the play’s wit ⓘ |
| Sir William Collyer | embodies conventional morality in the play ⓘ |
| Harlequinade | comic counterpoint to The Browning Version ⓘ |
| Le Malade imaginaire | five-act comedy in its printed form via predicate surface "dramaticType" ⓘ |
| Lady Bornwell | embodiment of courtly luxury ⓘ |
| Lady Bornwell | vehicle for critique of court culture ⓘ |
| Lord Bornwell | critique of aristocratic excess ⓘ |
| Kickshaw | vehicle for satire of luxury and excess ⓘ |
| Betty Parris in dramatic adaptations of the Salem witch trials | to show how quickly fear spreads through a community ⓘ |
| Betty Parris in dramatic adaptations of the Salem witch trials | to illustrate vulnerability of children to ideological pressure ⓘ |
| Amadis | heroic drama via predicate surface "dramaticType" ⓘ |
| Kate Keller | to maintain the illusion that Larry is alive ⓘ |
| Kate Keller | to resist revelation of Joe Keller's guilt ⓘ |
| I Dreamed a Dream | expresses Fantine’s despair and loss of hope ⓘ |
| Eddie Carbone | central tragic protagonist ⓘ |
| Eddie Carbone | focus of moral conflict ⓘ |