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 |
|---|---|
| Moll | vehicle for pro-labor message ⓘ |
| Biff Loman | foil to Willy Loman’s delusions ⓘ |
| Biff Loman | vehicle for critique of the American Dream ⓘ |
|
Lavinia Chamberlayne is Edward's estranged wife
surface form:
Lavinia Chamberlayne
|
catalyst for the play’s central conflict ⓘ |
|
Lavinia Chamberlayne is Edward's estranged wife
surface form:
Lavinia Chamberlayne
|
counterpart to Celia Coplestone ⓘ |
|
Sir Henry Harcourt-Reilly is a psychiatrist-like figure
surface form:
Sir Henry Harcourt-Reilly
|
reveals hidden truths about other characters ⓘ |
|
Sir Henry Harcourt-Reilly is a psychiatrist-like figure
surface form:
Sir Henry Harcourt-Reilly
|
structures the play’s movement from social comedy to spiritual drama ⓘ |
| Chris Keller | moral center of the play ⓘ |
| Chris Keller | agent of revelation of Joe Keller’s guilt ⓘ |
| Dr. Jim Bayliss | commentator on events ⓘ |
| Dr. Jim Bayliss | foil to idealistic characters ⓘ |
| Dr. Jim Bayliss | embodiment of disillusionment ⓘ |
| Ma Beckoff | embodies generational conflict over sexuality ⓘ |
| Ma Beckoff | catalyst for discussions of gay identity in family context ⓘ |
| Willy Loman | tragic hero ⓘ |
| Willy Loman | everyman ⓘ |
| Linda Loman | voice of compassion ⓘ |
| Linda Loman | mediator in family conflicts ⓘ |
| Linda Loman | counterpoint to Willy Loman’s illusions ⓘ |
|
“Stars” (Les Misérables musical)
surface form:
"Stars" (Les Misérables musical)
|
explores Javert's inner conflict via predicate surface "dramaticPurpose" ⓘ |
|
“Stars” (Les Misérables musical)
surface form:
"Stars" (Les Misérables musical)
|
establishes Javert's worldview via predicate surface "dramaticPurpose" ⓘ |
|
“Stars” (Les Misérables musical)
surface form:
"Stars" (Les Misérables musical)
|
foreshadows Javert's fate via predicate surface "dramaticPurpose" ⓘ |
| The Days of the Commune | to examine failures and potentials of revolutionary government ⓘ |
| Round Heads and Pointed Heads | didactic ⓘ |
| Round Heads and Pointed Heads | propagandistic against fascism ⓘ |
| Alfieri | Frames the action of the play ⓘ |
| Alfieri | Addresses the audience directly ⓘ |
| Alfieri | Provides exposition ⓘ |
| Alfieri | Comments on the unfolding tragedy ⓘ |
| Alfieri | Reflects on law versus justice ⓘ |
| Fear and Misery of the Third Reich | expose mechanisms of fascist power via predicate surface "dramaturgicalGoal" ⓘ |
| Beatrice Carbone | heightens the tragedy by remaining loyal to Eddie despite his flaws ⓘ |
| Volpone | city comedy via predicate surface "dramaticType" ⓘ |
| Tamburlaine | revenge tragedy elements via predicate surface "dramaticType" ⓘ |
| Tamburlaine | heroic drama via predicate surface "dramaticType" ⓘ |
| Gregory Solomon | comic relief ⓘ |
| Gregory Solomon | moral commentator ⓘ |
| Victor Franz | catalyst for revelation of family history ⓘ |
| Howard | shows social impact of the trial beyond the courtroom ⓘ |
| Howard | provides perspective of the town’s younger generation ⓘ |
| Adelaide | victim of hidden family crime ⓘ |
| Adelaide | figure of tragic innocence ⓘ |
|
Amor
surface form:
Amor (Gluck)
|
deus ex machina ⓘ |
|
Amor
surface form:
Amor (Gluck)
|
narrative mediator between gods and mortals ⓘ |
| Micaëla | represents traditional Christian and provincial values ⓘ |
| Micaëla | offers Don José an alternative to Carmen ⓘ |
| Micaëla | embodies innocence and domestic stability ⓘ |
| Habanera (L’amour est un oiseau rebelle) | entrance aria ⓘ |
| Seguidilla (Près des remparts de Séville) | seduction of Don José ⓘ |
| Seguidilla (Près des remparts de Séville) | persuasion aria ⓘ |