storyFunction
P7328
predicate
Indicates that one entity serves a particular narrative role or function within the story structure of another entity.
Aliases (4)
- narrativeFunction ×411
- functionInNarrative ×3
- functionInStory ×1
- narrativeFunctionOfGame ×1
Sample triples (425)
| Subject | Object |
|---|---|
| "Make 'Em Laugh" musical number | develops Cosmo Brown's character ("narrativeFunction") → |
| "Make 'Em Laugh" musical number | provides comic interlude in film ("narrativeFunction") → |
| A Dream Is a Wish Your Heart Makes | expresses Cinderella's optimism and belief in dreams ("narrativeFunction") → |
| A Storm of Swords (Game of Thrones Season 3 score) | underscores dramatic developments in Season 3 ("narrativeFunction") → |
| A Storm of Swords (Game of Thrones Season 3 score) | underscores political developments in Season 3 ("narrativeFunction") → |
| Abigail Williams | catalyst for the witchcraft accusations ("narrativeFunction") → |
| Abigail Williams | embodiment of hysteria and manipulation ("narrativeFunction") → |
| Abraham Van Brunt | foil to Ichabod Crane ("narrativeFunction") → |
| Abyssinian maid with a dulcimer | triggers the speaker’s desire to recreate the vision in verse ("functionInNarrative") → |
| Ackley | contributes to Holden Caulfield's sense of alienation ("narrativeFunction") → |
| Ackley | source of irritation for Holden Caulfield ("narrativeFunction") → |
| Ado Annie Carnes | comic relief ("narrativeFunction") → |
| Agathon | to present a poetic encomium of love ("narrativeFunction") → |
| Age of the Titans | explains transition from primordial to Olympian rule ("narrativeFunction") → |
| Alden Ehrenreich as Han Solo | originStoryOfHanSolo ("narrativeFunction") → |
| Ali Hakim | comic relief ("narrativeFunction") → |
| Alice Vavasor | embodies conflict between social duty and personal happiness ("narrativeFunction") → |
| Alice Vavasor | explores social expectations of women ("narrativeFunction") → |
| Anna | love interest ("narrativeFunction") → |
| Anna | mentor ("narrativeFunction") → |
| Annie Savoy | catalyst for character growth of players ("narrativeFunction") → |
| Antinous | example of impious and unjust behavior ("narrativeFunction") → |
| Antinous | foil to Odysseus’s rightful kingship ("narrativeFunction") → |
| Archdeacon Grantly | comic figure ("narrativeFunction") → |
| Archdeacon Grantly | representative of High Church conservatism ("narrativeFunction") → |
| Arthur Dent | Viewpoint character ("narrativeFunction") → |
| Augustine St. Clare | to expose contradictions of benevolent slaveholding ("narrativeFunction") → |
| Aunt Eller | stabilizing presence ("narrativeFunction") → |
| Baby Suggs | embodiment of communal healing ("narrativeFunction") → |
| Baby Suggs | spiritual center of the Black community ("narrativeFunction") → |
| Bang Bang | comic relief ("narrativeFunction") → |
| Baron Praxis | symbol of corruption and oppression in Haven City ("narrativeFunction") → |
| Beauty and the Beast (song) | love theme ("narrativeFunction") → |
| Beauty and the Beast (song) | title song ("narrativeFunction") → |
| Bilhah | part of the story of the twelve sons of Jacob ("narrativeFunction") → |
| Bloomer Girl (choreography) | advances character development ("narrativeFunction") → |
| Bloomer Girl (choreography) | advances story onstage ("narrativeFunction") → |
| Bontshe Shvayg | moral example ("narrativeFunction") → |
| Bontshe Shvayg | social critique ("narrativeFunction") → |
| Book I | prefatory history ("narrativeFunction") → |
| Book I | scene-setting introduction ("narrativeFunction") → |
| Breaching the Anteverse rift | resolution of main conflict in Pacific Rim ("narrativeFunction") → |
| Brother Justin Crowe | counterpart to Ben Hawkins ("narrativeFunction") → |
| Brother Justin Crowe | embodiment of darkness ("narrativeFunction") → |
| Buckthorne | connector of character interactions ("narrativeFunction") → |
| Buckthorne | focal point of social observations ("narrativeFunction") → |
| Buendía family | to depict cyclical history ("narrativeFunction") → |
| Buendía family | to explore solitude ("narrativeFunction") → |
| Buendía family | to illustrate the blending of myth and reality ("narrativeFunction") → |
| Calypso | tests Odysseus's loyalty to Penelope ("narrativeFunction") → |
| Camerlengo Patrick McKenna | drives religious and political conflict in Angels & Demons ("narrativeFunction") → |
| Camille (1921 film) – costume and set design | distinguishing social status through clothing and décor ("narrativeFunction") → |
| Camille (1921 film) – costume and set design | visual foreshadowing of the heroine’s fate ("narrativeFunction") → |
| Captain Juan Ramon | symbol of oppression ("narrativeFunction") → |
| Carl Denham | embodies dangers of exploitation and spectacle ("narrativeFunction") → |
| Carmen | frames familial tensions ("narrativeFunction") → |
| Carmen | frames wartime tensions ("narrativeFunction") → |
| Caroline Compson | embodies moral and emotional decay of the Compson family ("narrativeFunction") → |
| Centauromachy | exemplification of heroic virtue ("narrativeFunction") → |
| Centauromachy | moral warning against lack of self‑control ("narrativeFunction") → |
| Ceyx | exemplum of marital fidelity ("narrativeFunction") → |
| Charlie the cook | comic relief ("narrativeFunction") → |
| Charming, California | illustrates interplay between small-town life and organized crime ("narrativeFunction") → |
| Charybdis | obstacle in hero’s journey ("narrativeFunction") → |
| Chief Weasel | comic villain ("narrativeFunction") → |
| Clayton | protagonist through whom themes of morality and justice are explored ("narrativeFunction") → |
| Clint Eastwood as Frank Morris | drivesEscapePlot ("narrativeFunction") → |
| Coal Hill Academy | portal to the Shadow Kin world ("narrativeFunction") → |
| Coal Hill Academy | site of alien incursions ("narrativeFunction") → |
| Conrad | catalyst for supernatural events ("narrativeFunction") → |
| Conscience (Piers Plowman) | to comment on social and religious abuses ("narrativeFunction") → |
| Constance Bonacieux | catalyst for d'Artagnan's involvement in court intrigues ("narrativeFunction") → |
| Constant | explores themes of desire ("narrativeFunction") → |
| Constant | explores themes of marriage ("narrativeFunction") → |
| Constant | explores themes of social manners ("narrativeFunction") → |
| Count László de Almásy | drives fragmented, nonlinear storytelling ("narrativeFunction") → |
| Cunningham family | central family of Happy Days ("narrativeFunction") → |
| Curly McLain | hero ("narrativeFunction") → |
| Curly McLain | romantic lead ("narrativeFunction") → |
| Dame Van Winkle | catalyst for Rip Van Winkle’s retreat into the mountains ("narrativeFunction") → |
| Dame Van Winkle | source of domestic conflict ("narrativeFunction") → |
| Dani Ardor | protagonist of Midsommar ("narrativeFunction") → |
| David Caravaggio | truth-seeker ("narrativeFunction") → |
| David Caravaggio | witness to other characters’ pasts ("narrativeFunction") → |
| Dean Moriarty | catalyst for Sal Paradise’s journeys ("narrativeFunction") → |
| Decourcy Ward | protagonist ("narrativeFunction") → |
| Decourcy Ward | reformist figure ("narrativeFunction") → |
| Denver | embodies the post-slavery generation ("narrativeFunction") → |
| Dinarzad | to help prolong Shahrazad’s life by sustaining the king’s interest ("narrativeFunction") → |
| Dinarzad | to request a story from Shahrazad before dawn ("narrativeFunction") → |
| Diotima of Mantinea | female authority on love surpassing Socrates ("narrativeFunction") → |
| Dom Cobb | explores themes of reality and dreams ("narrativeFunction") → |
| Donner | supporting character in Santa Claus stories ("narrativeFunction") → |
| Doña Sol | source of conflict ("narrativeFunction") → |
| Doña Sol | temptation ("narrativeFunction") → |
| Dr. Cavor | drives plot through invention of Cavorite → |
| Dryope | example of human vulnerability before divine power ("narrativeFunction") → |
| Dryope | warning against disrespecting the gods ("narrativeFunction") → |
| Dudley | supernatural helper ("narrativeFunction") → |
| East Egg | foil to West Egg’s nouveau riche society ("narrativeFunction") → |
| East Egg | setting of the Buchanans’ mansion ("narrativeFunction") → |
| Ebby Calvin "Nuke" LaLoosh | character development focus ("narrativeFunction") → |
| Ebby Calvin "Nuke" LaLoosh | comic relief ("narrativeFunction") → |
| Echecrates | frame narrator’s interlocutor in Phaedo ("narrativeFunction") → |
| Effie White | emotional core of Dreamgirls → |
| Eleanor Lance | focus of the haunting events ("narrativeFunction") → |
| Eleanor Lance | subject of psychological deterioration ("narrativeFunction") → |
| Ephron the Hittite | establishing Abraham’s legal claim to land in Canaan ("narrativeFunction") → |
| Erwin König | rival sniper ("narrativeFunction") → |
| Erwin König | symbol of German military precision ("narrativeFunction") → |
| Eumaeus | contrast to arrogant suitors ("narrativeFunction") → |
| Eumaeus | embodiment of xenia (hospitality) ("narrativeFunction") → |
| Eva St. Clare | catalyst for moral reflection on slavery ("narrativeFunction") → |
| Everyman | audience surrogate ("narrativeFunction") → |
| Everyman | identification figure ("narrativeFunction") → |
| Everyman | viewpoint character ("narrativeFunction") → |
| Fedallah | embodiment of ominous prophecy ("narrativeFunction") → |
| Fedallah | foreshadowing device ("narrativeFunction") → |
| Foy | comic antagonist ("narrativeFunction") → |
| Francis X. Hummel | drives central crisis of the film ("narrativeFunction") → |
| Fred Ward as John Anglin | supportingCharacter ("narrativeFunction") → |
| Fritz Reiser | depicts brutality of war ("narrativeFunction") → |
| Fritz Reiser | depicts futility of war ("narrativeFunction") → |
| Gemma Teller Morrow | drives many of the show’s conflicts ("narrativeFunction") → |
| Gertrudis | Embodiment of unrestrained passion ("narrativeFunction") → |
| Gertrudis | Foil to Tita ("narrativeFunction") → |
| Good Morning (musical number) | celebrates solution to film's dubbing problem ("narrativeFunction") → |
| Gottlieb | comic relief scientist ("narrativeFunction") → |
| Green Knight | catalyst for Sir Gawain’s quest ("narrativeFunction") → |
| Guayas (indigenous chief in local tradition) | foundational figure for Guayaquil identity ("narrativeFunction") → |
| Guayas (indigenous chief in local tradition) | symbol of resistance ("narrativeFunction") → |
| Haman | foil to Esther and Mordecai ("narrativeFunction") → |
| Happy-Go-Lucky Toy Factory | Peter Griffin's workplace ("narrativeFunction") → |
| Harry | protagonist ("narrativeFunction") → |
| Harry | witness to slavery’s brutality ("narrativeFunction") → |
| Hector | embodiment of humanistic education ideals ("narrativeFunction") → |
| Hector | mentor figure to the boys ("narrativeFunction") → |
| Hector | source of ethical ambiguity in the play ("narrativeFunction") → |
| Hersilia | symbol of reconciliation between warring peoples ("narrativeFunction") → |
| Hesiodic Catalogue of Women | connects heroic families across the Greek world ("narrativeFunction") → |
| Hippolita | moral exemplar ("narrativeFunction") → |
| Hippolita | victim of patriarchal authority ("narrativeFunction") → |
| How the West Was Won (film score) | musically unifies multiple story episodes ("narrativeFunction") → |
| Hyas | etiological figure for rain-bringing stars ("narrativeFunction") → |
| Hyena-swine | to challenge Moreau’s authority ("narrativeFunction") → |
| Hyena-swine | to escalate violence among the Beast Folk ("narrativeFunction") → |
| I Have Confidence | expression of optimism ("narrativeFunction") → |
| I Have Confidence | expression of resolve ("narrativeFunction") → |
| Ichabod Crane | vehicle for satire of New England schoolmasters → |
| Ichabod Crane | vehicle for satire of superstition → |
| If I Only Had a Brain | introduces Scarecrow’s wish for a brain ("narrativeFunction") → |
| Illuminati (fictional depiction) | antagonistic force ("narrativeFunction") → |
| Illuminati (fictional depiction) | source of mystery and puzzles ("narrativeFunction") → |
| In My Own Little Corner | I want song ("narrativeFunction") → |
| In My Own Little Corner | character song ("narrativeFunction") → |
| Inspector Olivetti | initially distrusts Robert Langdon ("narrativeFunction") → |
| Inspector Olivetti | represents institutional skepticism toward outside experts ("narrativeFunction") → |
| Irish Kings | antagonists ("narrativeFunction") → |
| Irish Kings | power brokers in arms trade ("narrativeFunction") → |
| Jacinto | villain ("narrativeFunction") → |
| Jack Dawson | symbol of freedom and lower-class vitality ("narrativeFunction") → |
| Jackie Rohr | explores corruption within law enforcement ("narrativeFunction") → |
| Janie Crawford | frame narrator of her own life story ("narrativeFunction") → |
| Jean Hagen as Lina Lamont | sourceOfConflict ("narrativeFunction") → |
| Jean Hagen as Lina Lamont | sourceOfHumor ("narrativeFunction") → |
| Jedediah Leland | provides critical perspective on Kane’s life → |
| Jefferson, Mississippi | microcosm of the American South ("narrativeFunction") → |
| Jeremy | explores impact of dating advice on men ("narrativeFunction") → |
| Jeremy Irvine as young Eric Lomax | depicts wartime trauma of Eric Lomax ("narrativeFunction") → |
| Jeremy Irvine as young Eric Lomax | shows experiences on Burma Railway ("narrativeFunction") → |
| Jim Casy | inspires Tom Joad’s political awakening ("narrativeFunction") → |
| Joe Starks | antagonist to Janie Crawford’s self-realization ("narrativeFunction") → |
| Joe Starks | symbol of Black middle-class respectability politics ("narrativeFunction") → |
| Joe Starks | symbol of patriarchal power ("narrativeFunction") → |
| John Teller | posthumous moral compass for Jax Teller ("narrativeFunction") → |
| José Arcadio Buendía | founder of the family saga ("narrativeFunction") → |
| José Arcadio Buendía | symbol of obsessive pursuit of knowledge ("narrativeFunction") → |
| José Arcadio Buendía | symbol of visionary ambition ("narrativeFunction") → |
| Jud Fry | creates tension between Curly and Laurey ("narrativeFunction") → |
| Junior | catalyst for other characters’ conflicts ("narrativeFunction") → |
| Kaiju | allegory for technological hubris ("narrativeFunction") → |
| Kaiju | symbol of natural disasters ("narrativeFunction") → |
| Karen Richards | catalyst for plot developments ("narrativeFunction") → |
| Karla Saaranen | connects protagonist to underworld networks ("narrativeFunction") → |
| Karla Saaranen | drives protagonist’s emotional development ("narrativeFunction") → |
| Katerina Mikhailovna Maslova | drives exploration of guilt ("narrativeFunction") → |
| Katerina Mikhailovna Maslova | drives exploration of redemption ("narrativeFunction") → |
| Katerina Mikhailovna Maslova | drives exploration of social injustice ("narrativeFunction") → |
| Katie Coates | emotional anchor of the film ("narrativeFunction") → |
| Katrina Van Tassel | catalyst for conflict between Ichabod Crane and Brom Bones ("narrativeFunction") → |
| Katrina Van Tassel | love interest ("narrativeFunction") → |
| Katrina Van Tassel | object of desire ("narrativeFunction") → |
| Kevin Spacey as Dave Harken | source of workplace abuse ("narrativeFunction") → |
| Khader Khan | bridge between slum world and mafia world ("narrativeFunction") → |
| Khader Khan | moral and philosophical foil to Lin ("narrativeFunction") → |
| King Arthur's court | hub for quests ("narrativeFunction") → |
| King Arthur's court | stage for moral testing of knights ("narrativeFunction") → |
| King Arthur's court | symbol of a golden age of Britain ("narrativeFunction") → |
| King Shahryar | frame-story listener ("narrativeFunction") → |
| Kip | to contrast Western and non-Western perspectives on war ("narrativeFunction") → |
| Kip | to explore colonial subject’s experience in European war ("narrativeFunction") → |
| Krikkit war | drives quest for Wikkit Gate components ("narrativeFunction") → |
| Kristen | explores modern dating expectations ("narrativeFunction") → |
| Kristin Scott Thomas as Katherine Clifton | catalystForTragedy ("narrativeFunction") → |
| Kristin Scott Thomas as Katherine Clifton | loveInterestOfProtagonist ("narrativeFunction") → |
| Lady Bertilak | to challenge the ideals of knighthood ("narrativeFunction") → |
| Lady Bertilak | to contrast public honor with private behavior ("narrativeFunction") → |
| Lady Brute | critic of marriage conventions ("narrativeFunction") → |
| Lady Brute | vehicle for social satire ("narrativeFunction") → |
| Latte Pronto | central protagonist ("narrativeFunction") → |
| Laurey Williams | love interest ("narrativeFunction") → |
| Laurey Williams | protagonist ("narrativeFunction") → |
| Lawrence (Westworld) | comic relief ("narrativeFunction") → |
| Lawrence (Westworld) | guide for the Man in Black ("narrativeFunction") → |
| Lawrence (Westworld) | moral mirror to the Man in Black ("narrativeFunction") → |
| Lisa | becomes unwittingly involved in the main adventure → |
| Logan Killicks | contrast to Joe Starks ("narrativeFunction") → |
| Logan Killicks | contrast to Tea Cake ("narrativeFunction") → |
| Lonely Room | character development ("narrativeFunction") → |
| Lonely Room | villain perspective ("narrativeFunction") → |
| Lord de Winter | ally of the Musketeers ("narrativeFunction") → |
| Lord de Winter | antagonist to Milady de Winter ("narrativeFunction") → |
| Luster | embodies changing racial order ("narrativeFunction") → |
| Luster | foil to Benjy Compson ("narrativeFunction") → |
| Macheath | parodies heroic outlaw ("narrativeFunction") → |
| Macheath | satirizes corruption ("narrativeFunction") → |
| Madagascar (2005 film) score | supports energetic tone of the film ("narrativeFunction") → |
| Madagascar (2005 film) score | supports humor of the film ("narrativeFunction") → |
| Madagascar (2005 film) score | underscores animated adventure elements ("narrativeFunction") → |
| Madariaga | family patriarch whose descendants are divided by World War I ("narrativeFunction") → |
| Mama Elena | primary antagonist ("narrativeFunction") → |
| Manolin | to contrast youth and age ("narrativeFunction") → |
| Manolin | to show Santiago's human connections ("narrativeFunction") → |
| Many a New Day | character development song for Laurey ("narrativeFunction") → |
| Many a New Day | reflective solo number ("narrativeFunction") → |
| Margaret Anderson (Father Knows Best) | family anchor ("narrativeFunction") → |
| Margaret Anderson (Father Knows Best) | voice of reason ("narrativeFunction") → |
| Marshal Pentecost | military leadership title ("narrativeFunction") → |
| Martians | external threat testing human civilization ("narrativeFunction") → |
| Martin | minor source of aid for the protagonist ("narrativeFunction") → |
| Martin | symbol of human solidarity ("narrativeFunction") → |
| Marylou | embodies bohemian lifestyle ("narrativeFunction") → |
| Marylou | symbol of youthful spontaneity ("narrativeFunction") → |
| María | symbol of personal love amid war ("narrativeFunction") → |
| Matilda | victim of dynastic ambition ("narrativeFunction") → |
| Mayor Larry Vaughn | obstacle to timely response to shark threat ("narrativeFunction") → |
| Mercedes | link between household and resistance ("narrativeFunction") → |
| Merlin (Kingsman) | comic relief ("narrativeFunction") → |
| Merlin (Kingsman) | mentor figure ("narrativeFunction") → |
| Mike Connor | catalyst for heroine’s self-discovery → |
| Mike Connor | critiques upper-class values → |
| Miles Hendon | helper figure to the protagonist ("narrativeFunction") → |
| Miracle Max | aids heroes before castle assault ("narrativeFunction") → |
| Miss Quentin | embodies generational rebellion ("narrativeFunction") → |
| Miss Quentin | intensifies family dysfunction in The Sound and the Fury ("narrativeFunction") → |
| Miss Watson | foil to Huck Finn’s developing moral sense ("narrativeFunction") → |
| Mordaunt | Embodiment of implacable vengeance for past sins of the musketeers ("narrativeFunction") → |
| Morgiana | foil to the greed and foolishness of others ("narrativeFunction") → |
| Mount Ida (through Dardanus traditions) | link between Phrygia and Troy in heroic genealogy ("narrativeFunction") → |
| Mr. Antolini | challenges Holden’s view of adults ("narrativeFunction") → |
| Mr. Antolini | complex adult figure ("narrativeFunction") → |
| Mr. Bernstein | provides recollections of Charles Foster Kane ("narrativeFunction") → |
| Muff Potter | to highlight Tom Sawyer’s moral growth ("narrativeFunction") → |
| Māui | explains cultural practices ("narrativeFunction") → |
| Māui | explains natural phenomena ("narrativeFunction") → |
| Nathan Ford | planner of each episode’s con ("narrativeFunction") → |
| Nausicaa | bridge between Odysseus and the Phaeacian court ("narrativeFunction") → |
| Nausicaa | embodiment of ideal maidenhood ("narrativeFunction") → |
| Otter (The Wind in the Willows) | illustrates parental love ("narrativeFunction") → |
| Otto | central character ("narrativeFunction") → |
| Out of My Dreams | depicts Laurey’s emotional conflict ("narrativeFunction") → |
| Out of My Dreams | expresses Laurey’s inner longings ("narrativeFunction") → |
| Palliser family | focus of intertwined plots of power, marriage, and status ("narrativeFunction") → |
| Palmer Joss | philosophical foil to Ellie Arroway ("narrativeFunction") → |
| Palmer Joss | representative of religious worldview ("narrativeFunction") → |
| Pandora | divine punishment for mankind ("narrativeFunction") → |
| Pap Finn | contrast to Huck Finn's developing morality ("narrativeFunction") → |
| Pap Finn | critique of social and legal institutions ("narrativeFunction") → |
| Paul D | embodies the legacy of slavery on Black masculinity ("narrativeFunction") → |
| Paul D | provides an external perspective on Sethe’s past ("narrativeFunction") → |
| Pequod | primary setting of Moby-Dick ("narrativeFunction") → |
| Perry Mason | protagonist ("narrativeFunction") → |
| Pheidippides | satirical representation of decadent Athenian youth ("narrativeFunction") → |
| Phoebe Caulfield | contrasts with Holden Caulfield’s cynicism ("narrativeFunction") → |
| Phoebe Caulfield | motivates Holden Caulfield to reconsider running away ("narrativeFunction") → |
| Pilar | moral center of the guerrilla band ("narrativeFunction") → |
| Pilar | storyteller of past atrocities ("narrativeFunction") → |
| Polly Peachum | critic of contemporary society ("narrativeFunction") → |
| Polly Peachum | satirical figure ("narrativeFunction") → |
| Pore Jud Is Daid | explores Curly McLain’s antagonistic relationship with Jud Fry ("narrativeFunction") → |
| Pore Jud Is Daid | foreshadows Jud Fry’s death ("narrativeFunction") → |
| Portly | to evoke themes of parental love and concern ("narrativeFunction") → |
| Prabaker | Central supporting character ("narrativeFunction") → |
| Precursors | explanation for kaiju origin ("narrativeFunction") → |
| President of the Galaxy | comic device ("narrativeFunction") → |
| President of the Galaxy | satire of political leadership ("narrativeFunction") → |
| Prince John | symbol of bad kingship ("narrativeFunction") → |
| Prince John | symbol of tyranny ("narrativeFunction") → |
| Queen Guinevere | catalyst for the downfall of Arthur's kingdom ("narrativeFunction") → |
| Queen Mary (The King’s Speech) | embodies traditional royal duty and composure ("narrativeFunction") → |
| Queen Mary (The King’s Speech) | represents stability within the royal family ("narrativeFunction") → |
| Rachel Constantine | represents political and governmental perspective on alien contact ("narrativeFunction") → |
| Rasor | satirical figure ("narrativeFunction") → |
| Reverend John Hale | moral center in crisis ("narrativeFunction") → |
| Reverend John Hale | vehicle for critique of fanaticism ("narrativeFunction") → |
| Richard Channing | drives major plotlines in Falcon Crest ("narrativeFunction") → |
| Rollerball | tool of corporate control ("narrativeFunctionOfGame") → |
| Rollo | central viewpoint character ("narrativeFunction") → |
| Rose of Sharon Joad | embodies communal responsibility ("narrativeFunction") → |
| Rose of Sharon Joad | illustrates impact of economic hardship on family ("narrativeFunction") → |
| Rudolph | outcast who becomes hero ("narrativeFunction") → |
| Sam Porter Bridges | symbol of reconnection ("narrativeFunction") → |
| Sam Seaborn | idealistic conscience of the administration ("narrativeFunction") → |
| Santiago | embodies Hemingway’s ideal of grace under pressure ("narrativeFunction") → |
| Santiago "Pope" Garcia | protagonist ("narrativeFunction") → |
| Sauron (voice and motion capture) | overarching antagonist ("narrativeFunction") → |
| Sergeant Gonzales | comic relief ("narrativeFunction") → |
| Sherlock Holmes (2009 film) score | emphasizes Victorian London atmosphere ("narrativeFunction") → |
| Sherlock Holmes (2009 film) score | supports action sequences with rhythmic drive ("narrativeFunction") → |
| Sherlock Holmes (2009 film) score | underscores Holmes’s eccentric personality ("narrativeFunction") → |
| Sid | foil to Tom Sawyer ("narrativeFunction") → |
| Silas | enforcer for the main conspiracy ("narrativeFunction") → |
| Sir John Brute | critique of patriarchal marriage ("narrativeFunction") → |
| Sir John Brute | satire of abusive husbands ("narrativeFunction") → |
| Sir John Brute | source of dark comedy ("narrativeFunction") → |
| Sir John Brute | source of marital conflict ("narrativeFunction") → |
| Sir Leigh Teabing | plot twist villain ("narrativeFunction") → |
| Sirena | moral lesson for children ("narrativeFunction") → |
| Sister Margaret | central nun protagonist ("narrativeFunction") → |
| Slartibartfast | expositor of Magrathean planet-building ("narrativeFunction") → |
| Soliloquy (from "Carousel") | Billy Bigelow reflects on impending parenthood ("narrativeFunction") → |
| Something Wonderful | defends the King to Anna ("narrativeFunction") → |
| Sons of Anarchy Season 1 Episode 1 | establishes Jax Teller’s internal conflict ("narrativeFunction") → |
| Sons of Anarchy Season 1 Episode 1 | introduces series premise ("narrativeFunction") → |
| Squire Bracebridge | embodiment of idealized rural English life ("narrativeFunction") → |
| St. Petersburg, Missouri | depicts small-town life in the antebellum American South ("narrativeFunction") → |
| Stark family theme | highlights Stark resilience ("narrativeFunction") → |
| Stark family theme | signifies Stark identity ("narrativeFunction") → |
| Stark family theme | underscores loss and sacrifice ("narrativeFunction") → |
| Stepsisters’ Lament | character development for stepsisters ("narrativeFunction") → |
| Stepsisters’ Lament | comic relief ("narrativeFunction") → |
| Stradlater | contrasts with Holden Caulfield’s sensitivity ("narrativeFunction") → |
| Stradlater | highlights Holden Caulfield’s insecurity ("narrativeFunction") → |
| Strepsiades | vehicle for satire of Socrates ("narrativeFunction") → |
| Strepsiades | vehicle for satire of sophists ("narrativeFunction") → |
| Stringer Bell | illustrates intersection of crime and legitimate business ("narrativeFunction") → |
| Susanna | example of God defending the innocent ("narrativeFunction") → |
| Susanna | illustration of Daniel’s wisdom ("narrativeFunction") → |
| Tarry Town | frames the setting of Sleepy Hollow ("narrativeFunction") → |
| Teddy Daniels | unreliable narrator ("narrativeFunction") → |
| The Boar’s Head Tavern, Eastcheap | to show Prince Hal’s transformation from wastrel to king ("narrativeFunction") → |
| The City of Brass | moral exemplum ("narrativeFunction") → |
| The City of Brass | warning against arrogance ("narrativeFunction") → |
| The Drunken Clam regulars | place for main characters to discuss plot events ("narrativeFunction") → |
| The Drunken Clam regulars | source of standalone gag scenes ("narrativeFunction") → |
| The Duke | vehicle for social satire ("narrativeFunction") → |
| The Farmer and the Cowman | depicts rivalry between farmers and cowmen ("narrativeFunction") → |
| The Farmer and the Cowman | dramatizes reconciliation between farmers and cowmen ("narrativeFunction") → |
| The Gatlin Boys | catalysts for Tommy’s stand for justice ("narrativeFunction") → |
| The Hunchback’s Tale | entertainment ("narrativeFunction") → |
| The Hunchback’s Tale | moral reflection through comedy ("narrativeFunction") → |
| The King | source of conflict and tension in the river episodes ("narrativeFunction") → |
| The King’s Arrival | emphasizes imposing presence of King Robert Baratheon ("narrativeFunction") → |
| The King’s Arrival | underscores regal entrance ("narrativeFunction") → |
| The Last Samurai (2003 film) score | underscores epic themes ("narrativeFunction") → |
| The Last Samurai (2003 film) score | underscores introspective themes ("narrativeFunction") → |
| The Lord President | representation of Time Lord authority ("narrativeFunction") → |
| The Lord President | source of political conflict in Doctor Who ("narrativeFunction") → |
| The Machine of the World | didactic exposition of cosmic order ("narrativeFunction") → |
| The Machine of the World | revelation of the structure of the universe ("narrativeFunction") → |
| The Machine of the World | reward for Portuguese explorers ("narrativeFunction") → |
| The Prince Is Giving a Ball | announces the royal ball to which Cinderella will eventually go ("narrativeFunction") → |
| The Rains of Castamere | foreshadowing device ("narrativeFunction") → |
| The Swede | drives conflict in Hell on Wheels ("narrativeFunction") → |
| The War Master | foil to the Doctor ("narrativeFunction") → |
| The Wild Wood | contrasts safety of the riverbank with danger of the woods ("narrativeFunction") → |
| The Wild Wood | tests the courage of the characters ("narrativeFunction") → |
| Thunderlips | to demonstrate Rocky Balboa’s popularity and drawing power ("narrativeFunction") → |
| Thunderlips | to showcase contrast between boxing and professional wrestling ("narrativeFunction") → |
| Toad Hall is taken over by weasels and stoats | centralConflict ("narrativeFunction") → |
| Toad Hall is taken over by weasels and stoats | climax ("narrativeFunction") → |
| Tom Canty | contrasts with royal life ("narrativeFunction") → |
| Tom Canty | explores social inequality ("narrativeFunction") → |
| Topsy | to show that enslaved children can be educated and morally uplifted ("narrativeFunction") → |
| Tracy Samantha Lord | drives central romantic plot → |
| Trillian | human perspective in spacefaring adventures ("narrativeFunction") → |
| USS Gypsy | symbol of American naval power in Pacific Rim universe ("narrativeFunction") → |
| Uther Pendragon | predecessor to Arthur’s reign ("narrativeFunction") → |
| Valley of Ashes | to connect the worlds of the rich and the poor ("functionInNarrative") → |
| Valley of Ashes | to expose hidden corruption beneath wealth ("functionInNarrative") → |
| Venture (ship) | enables journey from civilization to Skull Island ("narrativeFunction") → |
| Venture (ship) | enables transport of Kong to New York ("narrativeFunction") → |
| Violet Trace | focus of psychological exploration ("narrativeFunction") → |
| Vladimir Dubrovsky | avenger of injustice ("narrativeFunction") → |
| Walter Parks Thatcher | represents the financial establishment that shapes Kane’s youth ("narrativeFunction") → |
| Walter Parks Thatcher | serves as an authority figure over young Charles Foster Kane ("narrativeFunction") → |
| We're Off to See the Wizard | travel montage ("narrativeFunction") → |
| West Egg | contrast to old-money aristocracy ("narrativeFunction") → |
| West Egg | symbol of materialism ("narrativeFunction") → |
| West Egg | symbol of social mobility ("narrativeFunction") → |
| White Walkers motif | foreshadowing White Walker appearances ("narrativeFunction") → |
| White Walkers motif | musical representation of White Walkers ("narrativeFunction") → |
| Will Parker | provides comic relief ("narrativeFunction") → |
| Will Parker | supports romantic subplot ("narrativeFunction") → |
| Will Scarlet | comic relief in some versions ("narrativeFunction") → |
| Will Scarlet | supporting hero ("narrativeFunction") → |
| William Parcher | embodiment of Nash's schizophrenia ("narrativeFunction") → |
| William Parcher | represents John Nash's paranoid delusions ("narrativeFunction") → |
| Zaphod Beeblebrox | comic anti-hero ("narrativeFunction") → |
| Zeke | protagonist group member ("narrativeFunction") → |
| Zorgons | create danger and tension ("narrativeFunction") → |
| contest of the bow in Ithaca | climax of the Odyssey ("narrativeFunction") → |
| contest of the bow in Ithaca | moment of recognition ("narrativeFunction") → |
| contest of the bow in Ithaca | prelude to the slaughter of the suitors ("narrativeFunction") → |
| ruby slippers | enable travel to and from the Land of Oz ("functionInStory") → |
| the Barber | introduces The Lumberjack Song ("narrativeFunction") → |
| the Barber | sets up the comedic twist about wanting to be a lumberjack ("narrativeFunction") → |
| the Baron | father of the bride ("narrativeFunction") → |
| the Corsair | to illustrate Time Lord gender fluidity ("narrativeFunction") → |
| the Faun | initiates Ofelia’s quests ("narrativeFunction") → |
| the Faun | tests Ofelia’s obedience ("narrativeFunction") → |
| the Inseparables | embodiment of camaraderie and honor ("narrativeFunction") → |
| Úrsula Iguarán | anchor of realism within a magical realist setting ("narrativeFunction") → |
| Úrsula Iguarán | connects multiple generations of the Buendía family ("narrativeFunction") → |
| חַוָּה | participant in the fall of man ("narrativeFunction") → |