From e2abff960f2d697eb2811f643ddede6817152595 Mon Sep 17 00:00:00 2001 From: Victor Giers Date: Thu, 19 Mar 2026 21:55:29 +0100 Subject: [PATCH] Remove unused files and update library.json --- backend/libraries/dsa/corpus.enhanced.jsonl | 0 backend/libraries/dsa/corpus.jsonl | 1 - backend/libraries/dsa/corpus.shadow.jsonl | 0 backend/libraries/dsa/library.json | 23 +------------------ ...f9e630--Dramatic_structure_-_Wikipedia.pdf | 1 - ...Denken_2012_Siedler_Verlag_-_libgen.li.pdf | 1 - 6 files changed, 1 insertion(+), 25 deletions(-) delete mode 100644 backend/libraries/dsa/corpus.enhanced.jsonl delete mode 100644 backend/libraries/dsa/corpus.jsonl delete mode 100644 backend/libraries/dsa/corpus.shadow.jsonl delete mode 120000 backend/libraries/dsa/stage/259b04f8f364d7dc890f081b366e2c324d3c1ec04ac5d0ca92a5acce70f9e630--Dramatic_structure_-_Wikipedia.pdf delete mode 120000 backend/libraries/dsa/stage/ee60f8138669faf3b708b07b711caa0085c302331c94ce3f62816009e4cb3275--Daniel_Kahneman_-_Schnelles_Denken_langsames_Denken_2012_Siedler_Verlag_-_libgen.li.pdf diff --git a/backend/libraries/dsa/corpus.enhanced.jsonl b/backend/libraries/dsa/corpus.enhanced.jsonl deleted file mode 100644 index e69de29..0000000 diff --git a/backend/libraries/dsa/corpus.jsonl b/backend/libraries/dsa/corpus.jsonl deleted file mode 100644 index 3c0efa0..0000000 --- a/backend/libraries/dsa/corpus.jsonl +++ /dev/null @@ -1 +0,0 @@ -{"id": "/Users/giers/LLM Tools/Heimgeist/backend/libraries/dsa/stage/259b04f8f364d7dc890f081b366e2c324d3c1ec04ac5d0ca92a5acce70f9e630--Dramatic_structure_-_Wikipedia.pdf", "parent_id": null, "source_path": "/Users/giers/Documents/Dramatic structure - Wikipedia.pdf", "url": null, "mime": "application/pdf", "record_type": "file", "title": "Dramatic structure", "text": "Dramatic structure\n\nContributors to Wikimedia projects\n\n\nDramatic structure (also known as dramaturgical structure) is the structure\nof a dramatic work such as a book, play, or film. There are different kinds of\ndramatic structures worldwide which have been hypothesized by critics, writers and\nscholars alike over time. This article covers the range of dramatic structures from\naround the world. How the acts are structured, what the center of the story is\nsupposed to be about widely varies by region and time period.\n\nAfrica and African diaspora[edit]\nCaribbean[edit]\n\nKwik Kwak[edit]\n\nThe structure is:\n\n 1. Tell riddles to test the audience.\n 2. Audience becomes a chorus and comments on the story.\n\nUsually there is a ritual ending.[1]\n\nWest Africa[edit]\n\nGriot[edit]\n\nA story structure commonly found in West Africa told by Griot storytellers, who\ntells their stories orally. Famous stories from this tradition include Anansi folktales.\nThis storytelling type had influence on later African American, Creole, and\nCaribbean African diaspora stories.\n\nThe story structure is as follows:\n\n 1. Opening formula-includes jokes and riddles to engage audience participation\n Story telling events, done seriously.\n 2. the body/expository section- narration of the tale, setting up the characters\n and the events, defining the conflict.\n 3. the conclusive formula- closure of the story and the moral.[2]\n\nThe central driver of the story is memory.\n\nIndigenous peoples of North America and Latin\n\fAmerica[edit]\nCentral America[edit]\n\nRobleto[edit]\n\nRobleto is a story form that originates from Nicaragua. It’s named after Robert\nRobleto, though the structure is much older than him and discovered by Cheryl\nDiermyer, an outsider, in 2010. It’s mostly under in the farming community.[3] It is\nmade of:\n\n 1. Line of Repetition\n 2. Introduction\n 3. Climax\n 4. Journeys\n 5. Close\n\nSouth America[edit]\n\nHarawi[edit]\n\nHarawi is an ancient traditional genre of Andean music and also indigenous lyric\npoetry. Harawi was widespread in the Inca Empire and now is especially common\nin countries that were part of it, mainly: Peru, Ecuador, Bolivia. Typically, harawi is\na moody, soulful slow and melodic song or tune played on the quena (flute). The\nwords of harawi speak of love (often unrequited), plight of ordinary peasant,\nprivations of orphans, etc. Melodies are mainly in minor pentatonic scale.\n\nAsia[edit]\nEast Asia[edit]\n\nDream record[edit]\n\nThis is a story type that starts with a dream. It was invented in the Ming Dynasty\nand exported to Korea.[4] The structure deals mainly with a character either\nreflecting on their life or telling another dead character about their life. It often\nreflects regret from the characters about their life choices and helps them to either\nmove on or accept their reality. It was never imported into Japan because Japan\nhad an anti-Chinese sentiment in the Tokugawa era starting in the 1600s and the\ncollapse of the Ming empire was in 1618.\n\nDream record (Japan)[edit]\n\nDream record or Dream diaries (夢の樹) is separate from the Dream record above\nand was started by Buddhist monks in 13th-century Japan, who recorded their\ndreams in diaries.[5] These dreams were often recorded, shared and viewed.\n\fEast Asian 4-act[edit]\n\nThis dramatic structure started out as a Chinese poetry style called qǐ chéng zhuǎn\nhé (起承转合) and then was exported to Korea as gi seung jeon gyeol (Hangul: 기승\n전결; Hanja: 起承轉結) and Japan as Kishotenketsu (起承転結). Each country has\nadapted their own take on the original structure. It is notable as one of the story\nstructures that emphasizes no conflict.[6]\n\nEight-legged essay[edit]\n\nThe eight-legged essay (Chinese: 八股⽂; pinyin: bāgǔwén; lit. 'eight bone\ntext')[7] was a style of essay in imperial examinations during the Ming and Qing\ndynasties in China.[7] The eight-legged essay was needed for those test takers in\nthese civil service tests to show their merits for government service, often focusing\non Confucian thought and knowledge of the Four Books and Five Classics, in\nrelation to governmental ideals.[7] Test takers could not write in innovative or\ncreative ways, but needed to conform to the standards of the eight-legged essay.[7]\nVarious skills were examined, including the ability to write coherently and to\ndisplay basic logic. In certain times, the candidates were expected to spontaneously\ncompose poetry upon a set theme, whose value was also sometimes questioned, or\neliminated as part of the test material. This was a major argument in favor of the\neight-legged essay, arguing that it were better to eliminate creative art in favor of\nprosaic literacy. In the history of Chinese literature, the eight-legged essay is often\nsaid to have caused China's \"cultural stagnation and economic backwardness\" in\nthe 19th century.[7][8]\n\nJo-ha-kyū[edit]\n\nJo-ha-kyū (序破急) is a concept of modulation and movement applied in a wide\nvariety of traditional Japanese arts. Roughly translated to \"beginning, break, rapid\",\nit essentially means that all actions or efforts should begin slowly, speed up, and\nthen end swiftly. This concept is applied to elements of the Japanese tea ceremony,\nto kendō and other martial arts, to dramatic structure in the traditional theatre, and\nto the traditional collaborative linked verse forms renga and renku (haikai no\nrenga).\n\nThe concept originated in gagaku court music, specifically in the ways in which\nelements of the music could be distinguished and described. Though eventually\nincorporated into a number of disciplines, it was most famously adapted, and\nthoroughly analysed and discussed by the great Noh playwright Zeami,[9] who\nviewed it as a universal concept applying to the patterns of movement of all things.\n\nWest Asia[edit]\n\nChiastic structure[edit]\n\nA kind of structure found in the Torah, Bible and Quran using a form of repetition.\n\fHakawati[edit]\n\nA Palestinian form of literature which includes 1001 Arabian Nights. This structure\nalso includes are many religious works, including the Torah, Bible, and Quran.\n[10][11]\n\nKaragöz[edit]\n\nKaragöz (literally Blackeye in Turkish) and Hacivat (shortened in time from\n\"Hacı İvaz\" meaning \"İvaz the Pilgrim\", and also sometimes written as Hacivad)\nare the lead characters of the traditional Turkish shadow play, popularized during\nthe Ottoman period and then spread to most nation states of the Ottoman Empire.\nIt is most prominent in Turkey, Greece, Bosnia and Herzegovina and Adjara\n(autonomous republic of Georgia). In Greece, Karagöz is known by his local name\nKaragiozis; in Bosnia and Herzegovina, he is known by his local name Karađoz.\n\nKaragöz plays are structured in four parts:\n\n • Mukaddime: Introduction. Hacivat sings a semai (different at each\n performance), recites a prayer, and indicates that he is looking for his friend\n Karagöz, whom he beckons to the scene with a speech that always ends \"Yar\n bana bir eğlence\" (\"Oh, for some amusement\"). Karagöz enters from the\n opposite side.\n • Muhavere: dialogue between Karagöz and Hacivat\n • Fasil: main plot\n • Bitiş: Conclusion, always a short argument between Karagöz and Hacivat,\n always ending with Hacivat yelling at Karagöz that he has \"ruined\" whatever\n matter was at hand and has \"brought the curtain down,\" and Karagöz replying\n \"May my transgressions be forgiven.\"\n\nSources:[12][13]\n\nTa'zieh[edit]\n\nTa'zieh or Ta'zïye or Ta'zīya or Tazīa or Ta'ziyeh (Arabic: ‫ﺗﻌﺰﯾﺔ‬, Persian: ‫ﺗﻌﺰﯾﮫ‬,\nUrdu: ‫ )ﺗﻌﺰﯾہ‬means comfort, condolence or expression of grief. It comes from roots\naza (‫ ﻋﺰو‬and ‫ )ﻋﺰى‬which means mourning.\n\nDepending on the region, time, occasion, religion, etc. the word can signify different\ncultural meanings and practices:\n\n • In Persian cultural reference it is categorized as Condolence Theatre or\n Passion Play inspired by a historical and religious event, the tragic death of\n Hussein, symbolizing epic spirit and resistance.\n • In South Asia and in the Caribbean it refers specifically to the Miniature\n Mausoleums (imitations of the mausolems of Karbala, generally made of\n coloured paper and bamboo) used in ritual processions held in the month of\n Muharram.\n\nTa'zieh, primarily known from the Persian tradition, is a shi'ite Muslim ritual that\n\freenacts the death of Hussein (the Islamic prophet Muhammad's grandson) and his\nmale children and companions in a brutal massacre on the plains of Karbala, Iraq\nin the year 680 AD. His death was the result of a power struggle in the decision of\ncontrol of the Muslim community (called the caliph) after the death of\nMuhammad.[14]\n\nEurope and the European diaspora[edit]\nAristotle's analysis[edit]\n\nMany scholars have analyzed dramatic structure, beginning with Aristotle in his\nPoetics (c. 335 BCE).\n\nIn his Poetics, a theory about tragedies, the Greek philosopher Aristotle put forth\nthe idea the play should imitate a single whole action and does not skip around\n(Such as flashbacks and the like). \"A whole is what has a beginning and middle and\nend. A beginning is that which is not a necessary consequent of anything else but\nafter which something else exists or happens as a natural result. An end on the\ncontrary is that which is inevitably or, as a rule, the natural result of something else\nbut from which nothing else follows; a middle follows something else and\nsomething follows from it. Well constructed plots must not therefore begin and end\nat random, but must embody the formulae we have stated.\" (1450b27).[15] He split\nthe play into two acts: δέσις (desis) and λύσις (lysis) which roughly translates to\nbinding and unbinding,[16] though contemporary translation is \"complication\" and\n\"dénouement\".[17] He mainly used Sophicles to make his argument about the\nproper dramatic structure of a play.\n\nHe argues that for a proper tragedy the plot should be simple: a man moving from\nprosperity to tragedy and not the reverse. It should excite pity or fear, to shock the\nviewer. He also states that the man needs to be well-known to the audience. The\ntragedy should come about because of a flaw in the character.[18]\n\nHe ranked the order of importance of the play to be: Chorus, Events, Diction,\nCharacter, Spectacle.[19] And that all plays should be able to be performed from\nmemory, long and easy to understand.[20] He was against character-centric plots\nstating “The Unity of a Plot does not consist, as some suppose, in its having one\nman as its subject.”[21] He was against episodic plots.[22] He held that discovery\nshould be the high point of the play and that the action should teach a moral that is\nreinforced by pity, fear and suffering.[23] The spectacle, not the characters\nthemselves would give rise to the emotions.[24] The stage should also be split into\n“Prologue, Episode, Exode, and a choral portion, distinguished into Parode and\nStasimon...“[25]\n\nUnlike later, he held that the morality was the center of the play and what made it\ngreat. Unlike popular belief, he did not come up with the three act structure\npopularly known.\n\nOne-Act Play[edit]\n\fSaid to be innovated by Euripides for his play Cyclops, it wasn't wildly popular until\nthe late 19th century with the rise of film. Alice Guy-Blaché made a comment about\nit in the documentary Be Natural: The Untold Story of Alice Guy-Blaché, where she\ncommented that many of the films of the time required a quick punchline at the\nend.\n\nIt is still used today, but fell out of popular favor for films around the late 1930s to\n1940s, when the runtime for an average film became longer.[26] (See Kenneth Rowe\nand Lajos Egri.)\n\nHorace's analysis[edit]\n\nThe Roman drama critic Horace advocated a 5-act structure in his Ars Poetica:\n\"Neue minor neu sit quinto productior actu fabula\" (lines 189–190) (\"A play should\nnot be shorter or longer than five acts\"). He also argued for a Chorus, \"The Chorus\nshould play an actor’s part, energetically,\" and the center of the play should be\nmorality as Aristotle did.\n\n\"It should favour the good, and give friendly advice,\nGuide those who are angered, encourage those fearful\nOf sinning: praise the humble table's food, sound laws\nAnd justice, and peace with her wide-open gates:\nIt should hide secrets, and pray and entreat the gods\nThat the proud lose their luck, and the wretched regain it.\"\n\nHe did not specify the contents of the acts.\n\nAelius Donatus[edit]\n\nThe fourth-century Roman grammarian Aelius Donatus in his criticism of Terence's\nplays Adelphoe and Hecyra in the book Aeli Donati qvod fertvr Commentvm\nTerenti: Accendvnt Evgravphi Volume 2 and in his review of Terence's Play Andria\nin P. Terentii Afri comoediae sex used the terms prologue (prologus), protasis,\nepitasis and catastropha. He often uses the original Greek letters, but does not\ndefine these as specific acts, but as parts of the play as having different emotional\nqualities.\n\nFor example for Terence's play Adelphoe he comments, \"in hac prologus aliquanto\nlenior inducitur; magis etiam in se purgando quam in aduersariis laedendis est\noccupatus. πρότασις turbulenta est, ἐπίτασις clamosa, καταστροφή lenior. quarum\npartium rationem diligentius in principio proposuimus, cum de comoedia quaedam\ndiceremus.\" which roughly translates to, \"In this the prologue is somewhat milder;\nhe is more engaged in clearing himself than in injuring his opponents. Protasis is\nturbulent. The epitasis is loud and gentler catastropha.\"[27]\n\nHe further adds that Hecyra, \"in hac prologus est et multiplex et rhectoricus nimis,\npropterea quod saepe exclusa haec comoedia diligentissima defensione indigebat.\natque in hac πρότασις turbulenta est, ἐπίτασις mollior, lenis καταστροφή.\" which\nroughly translate to, \"In this the prologue is both multiple and overly rhetorical,\nbecause oftentimes this comedy is excluded because it needs a very careful defense.\n\fAnd in this the protasis is turbulent, the milder the epithasis, the softer the\ncatastropha.\"[28]\n\nHowever, he also argues that Latins have a five act chorus, which distinguishes\nLatins from Greeks, \"hoc etiam ut cetera huiusmodi poemata quinque actus\nhabaeat necesse est choris diusos a Graecis poetis.\" which roughly translates to, \"In\norder to have other poems of this kind, it is necessary to have five acts of choruses,\ndistinguished from the Greek poets.\"[28] making it fairly clear that though he used\nthe Greek for these divisions of play, he did not think of them as part of the overall\nact structure.\n\nNo definitive translation of this work has been made into English.[29]\n\nPicaresque novel[edit]\n\nFirst developed in Spain in 1554, the term was not coined until 1810. A picaresque\nnovel is written in first person, with a character who is of low social status, and\nthere is little to no plot or character development, but told with realism. Satire is\noften deployed. A famous example is Miguel de Cervantes' Don Quixote.\n\nShakespeare[edit]\n\nWilliam Shakespeare did not invent the five-act structure.[30] The five-act structure\nwas made by Freytag, in which he used Shakespeare as an example. There are no\nwritings from Shakespeare on how he intended his plays to be. There is some\nthought that people imposed the act structure after his death. During his lifetime,\nthe four-act structure was also popular and used in plays such as Fortunae\nLudibrium sive Bellisarius.[31] Freytag made claims in his book that Shakespeare\nshould have used his 5 act structure, but it did not exist at the time period of\nShakespeare.[32]\n\nBildungsroman[edit]\n\nThe term was coined in the 1819 by Karl Morgenstern, but the birth of the\nBildungsroman is normally dated to the publication of Wilhelm Meister's\nApprenticeship by Johann Wolfgang von Goethe in 1795–96,[33] or, sometimes, to\nChristoph Martin Wieland's Geschichte des Agathon of 1767.[34]\n\nThe plot requires a young or innocent protagonist who goes on to learn about the\nworld, and learns how to enter it. The central goal is maturity of the protagonist\nwhich may be done through discovery, conflict or other means.\n\nFreytag's pyramid[edit]\n\fThe German playwright and novelist Gustav Freytag wrote Die Technik des\nDramas,[36] a definitive study of the five-act dramatic structure, in which he laid\nout what has come to be known as Freytag's pyramid.[37] Under Freytag's pyramid,\nthe plot of a story consists of five parts:[38][35]\n\n 1. Exposition (originally called introduction)\n 2. Rise\n 3. Climax\n 4. Return or Fall\n 5. Catastrophe, dénouement, resolution, or revelation[39] or \"rising and\n sinking\". Freytag is indifferent as to which of the contending parties justice\n favors; in both groups, good and evil, power and weakness, are mingled.[40]\n\nA drama is then divided into five parts, or acts, which some refer to as a dramatic\narc: introduction, rise, climax, return or fall, and catastrophe. Freytag extends the\nfive parts with three moments or crises: the exciting force, the tragic force, and the\nforce of the final suspense. The exciting force leads to the rise, the tragic force leads\nto the return or fall, and the force of the final suspense leads to the catastrophe.\nFreytag considers the exciting force to be necessary but the tragic force and the\nforce of the final suspense are optional. Together, they make the eight component\nparts of the drama.[35]\n\nIn making his argument, he attempts to retcon much of the Greeks and\nShakespeare by making opinions of what they meant, but didn't actually say.[41]\n\nHe argued for tension created through contrasting emotions, but didn't actively\nargue for conflict.[42] He argued that character comes first in plays.[43] He also sets\nup the groundwork for what would later in history be called the inciting\nincident.[44]\n\nOverall, Freytag argued the center of a play is emotionality and the best way to get\nthat emotionality is to put contrasting emotions back to back. He laid some of the\nfoundations for centering the hero, unlike Aristotle. He is popularly attributed to\nhave stated conflict at the center of his plays, but he argues actively against\ncontinuing conflict.[45]\n\nIntroduction[edit]\n\nThe setting is fixed in a particular place and time, the mood is set, and characters\n\fare introduced. A backstory may be alluded to. Introduction can be conveyed\nthrough dialogues, flashbacks, characters' asides, background details, in-universe\nmedia, or the narrator telling a back-story.[46]\n\nRise[edit]\n\nAn exciting force begins immediately after the exposition (introduction), building\nthe rise in one or several stages toward the point of greatest interest. These events\nare generally the most important parts of the story since the entire plot depends on\nthem to set up the climax and ultimately the satisfactory resolution of the story\nitself.[47]\n\nClimax[edit]\n\nThe climax is the turning point, which changes the protagonist's fate. If things were\ngoing well for the protagonist, the plot will turn against them, often revealing the\nprotagonist's hidden weaknesses.[48] If the story is a comedy, the opposite state of\naffairs will ensue, with things going from bad to good for the protagonist, often\nrequiring the protagonist to draw on hidden inner strengths.\n\nReturn or Fall[edit]\n\nDuring the Return, the hostility of the counter-party beats upon the soul of the\nhero. Freytag lays out two rules for this stage: the number of characters be limited\nas much as possible, and the number of scenes through which the hero falls should\nbe fewer than in the rise. The return or fall may contain a moment of final suspense:\nAlthough the catastrophe must be foreshadowed so as not to appear as a non\nsequitur, there could be for the doomed hero a prospect of relief, where the final\noutcome is in doubt.[49]\n\nCatastrophe[edit]\n\nThe catastrophe (Katastrophe in the original),[50] also referred to as the\ndénouement (, ), is where the hero meets his logical destruction. Freytag warns\nthe writer not to spare the life of the hero.[51] Despite dénouement being attested as\nfirst appearing in 1752,[52][53][54] it was not used to refer to dramatic structure until\nthe 19th century.\n\nSelden Lincoln Whitcomb[edit]\n\fA diagram of Silas Marner on page 58 of Selden Whitcomb's The Study of a Novel.\n\nIn 1905, Selden Lincoln Whitcomb published The Study of a Novel, and suggested\nthat graphical representation of a novel was possible.\"The general epistolary\nstructure may be partially represented by a graphic design.\"[55] For which he posts\na proposed design for Miss. Burney Evelina on page 21.\n\nHe expounds this idea on Page 39 with \"The Line of Emotion\" where he proposes\nhow one feels about emotion can be drawn graphically. However, he makes a\ncareful distinction between author, character and reader. \"The fact that the author\npresents a character moved by fear does not necessarily mean that the author or the\nreader experiences that emotion. Nor does a mere discussion of emotion, whether\nby the author or a character such as one should notice in the study of subject-\nmatter, belong to the line of emotion.\"[55] He argued that this line of emotion\nshould be calculated for the reader. He draws a diagram for Silas Marner Chapter\nXIII to illustrate his point.\n\nHe does not prescribe a certain formula for the structure, but instead introduces\nvarious kinds of vocabulary for various points along the emotional line.\n\nHis work was then used in Joseph Berg Esenwein to describe short stories for the\nline of emotion, though his name is misspelled in Esenwein's work. His diagram\nspecifically for Silas Marner was plagiarized later by Kenneth Rowe, though he drew\nother diagrams for other novels and forms, such as Pride and Prejudice on page\n58,[55] the Epistolary Form p 21, Simple narratives p 56, and so on.\n\nJoseph Berg Esenwein[edit]\n\nJoseph Berg Esenwein in 1909 published, \"Writing the short-story; a practical\nhandbook on the rise, structure, writing, and sale of the modern short-story.\" In it\nhe outlines the following plot elements and ties it to a drawing,[56] following\nWhitcomb's prescriptions: Incident, emotion, crisis, suspense, climax, dénouement,\nconclusion. He does not make an accompanying diagram with any of these\nelements, but does argue that the line of emotion is important to stories on page\n198. He also lists types of plots on page 76 as: Surprise, Problem, Mystery, Mood or\nEmotion or Sentiment, Contrast and Symbolism. He does not argue one to be\nsuperior to the other. He cautions multiple times in his text that his prescriptions\nare only for short stories such as pages 30–32.\n\nChapter X, Part 5. Climax he defines here as, \"the apex of interest and emotion; it is\n\fthe point of the story.\" when quoting \"Short Story Writing 1898, Charles Raymond\nBarrett, p 171\" but further expounds here as, \"rise of interest and in power to its\nhighest point.\" He argues the highest point is always along emotional lines on page\n187 stating, \"The big thing--at once the basic and the climacteric thing--in the short\nstory is human interest, and there can be no sustained human interest without\nemotion. The whole creation is a field for its display, and since fiction assumes to be\na microcosm, fiction, short and long must deal intimately with emotion, from its\ngentler to its extreme manifestations.\"[56]\n\nThe definitions he used would later influence the vocabulary for the Hollywood\nFormula. Early Hollywood films were short. For example In Old California\npublished in 1910 is 17 minutes long.\n\nClayton Hamilton[edit]\n\nClayton Hamilton, in A Manual of The Art of Fiction (1918), stated that a proper\nplot outline is, \"A plot, therefore, in its general aspects, may be figured as a\ncomplication followed by an explication, a tying followed by an untying, or (to say\nthe same thing in French words which are perhaps more connotative) a nouement\nfollowed by a dénouement.\"[57]\n\nHe does not state the center of stories is conflict, but rather on page 3 that, \"The\npurpose of fiction is to embody certain truths of human life in a series of imagined\nfacts.\"[57] and centers on the debate of the time between romanticism and realism.\n\nThe complication is what Lajos Egri later called the premise and it was later pushed\nto be part of the inciting incident. The explication was put first and then explained\nto be the introduction in the contemporary vocabulary. The dénouement would be\nsplit later into falling action and conclusion.\n\nConfessional writing[edit]\n\nSprung originally from Christianity, it is often an account of a person's life that was\nfirst secularized by Jean Jacques Rousseau and then popularized in 1919 with the\nmagazine True Story. The confessions don't really have to be valid, though an\naccount of someone's life needs to be included. Such confessions magazines were\nchiefly aimed at an audience of working-class women.[58] Their formula has been\ncharacterized as \"sin-suffer-repent\": The heroine violates standards of behavior,\nsuffers as a consequence, learns her lesson, and resolves to live in light of it, not\nembittered by her pain.[59]\n\nPercy Lubbock[edit]\n\nPercy Lubbock wrote \"Craft of Fiction\", which was published in 1921.\n\nThe aim of Lubbock is to give a shape or a formula to books, because he states: \"We\nhear the phrase on all sides, an unending argument is waged over it. One critic\ncondemns a novel as 'shapeless,' meaning that its shape is objectionable; another\nretorts that if the novel has other fine qualities, its shape is unimportant; and the\n\ftwo will continue their controversy till an onlooker, pardonably bewildered, may\nbegin to suppose that \"form\" in fiction is something to be put in or left out of a\nnovel according to the taste of the author. But though the discussion is indeed\nconfusingly worded at times, it is clear that there is agreement on this article at\nleast—that a book is a thing to which a shape is ascribable, good or bad.\"[60]\n\nHe also argued for \"Death of the Author\" somewhat in his work, \"The reader of a\nnovel—by which I mean the critical reader—is himself a novelist; he is the maker of\na book which may or may not please his taste when it is finished, but of a book for\nwhich he must take his own share of the responsibility. The author does his part,\nbut he cannot transfer his book like a bubble into the brain of the critic; he cannot\nmake sure that the critic will possess his work. The reader must therefore become,\nfor his part, a novelist, never permitting himself to suppose that the creation of the\nbook is solely the affair of the author.\"[61]\n\nHe is the first to make a concentrated effort at looking at conflict as the center of\n\"drama\" and therefore stories, \"What is the story? There is first of all a succession\nof phases in the lives of certain generations; youth that passes out into maturity,\nfortunes that meet and clash and re-form, hopes that flourish and wane and\nreappear in other lives, age that sinks and hands on the torch to youth again—such\nis the substance of the drama. The book, I take it, begins to grow out of the thought\nof the processional march of the generations, always changing, always renewed; its\nfigures are sought and chosen for the clarity with which the drama is embodied in\nthem.\"[62] He directly mentions conflict when referring to the plot of \"War and\nPeace\"[63] with analyzing Madame Bovary[64] and so on.\n\nThe book was wildly, popular, but Virginia Woolf privately wrote of the work that,\n\"This is my prime discovery so far; & the fact that I've been so long finding it,\nproves, I think, how false Percy Lubbock's doctrine is--that you can do this sort of\nthing consciously.\" in November 1923.[65] She went back and forth on the work\nthroughout her life.[66]\n\nKenneth Thorpe Rowe[edit]\n\nIn 1939, Kenneth Thorpe Rowe published Write That Play in which he outlined\nwhat he thought of his ideal play structure. He did not cite any sources, though\nthere looks to be some influence from Freytag's Pyramid.\n\n\n\n\nKenneth Rowe's Basic Dramatic Structure from page 60 of Write That Play.\n\nThe parts are: introduction, attack, rising action, crisis, falling action, resolution,\nconclusion. The attack would be relabeled the \"inciting incident\" later and the crisis\nwould be relabeled \"climax\" and the conclusion as the \"dénouement\" by Syd Field.\n\fThe resolution as a turning point was also taken out. The center of the play should\nbe, according to him, conflict as this will excite the most emotion.[67]\n\nHe acknowledges other people have used climax, but does not cite who, but objects\nto the term \"climax\" because, \"Climax is misleading because it might with equal\nfitness be applied to the resolution. Climax applied to the turning point suggests\nincreasing tension up to that point, and relaxation following it. What actually\nhappens is that the tension continues to increase in a well con-structured play from\nthe turning point to the resolution, but is given a new direction and impetus at the\nturning point.\"[68]\n\nDespite this being his ideal shape for a play, he suggests that this can be modified to\ninclude more complications on the Rising action or the Falling action.[69] He\nfurther suggests that the play structure doesn't need a conclusion.[70] However, if\nthere is a conclusion, he suggests making it shorter than the Introduction and it can\neither be flat or acute in angle.[71]\n\nThis story structure, as suggested, had a strong influence on Arthur Miller (All My\nSons, Death of a Salesman).[72]\n\nLajos Egri[edit]\n\nIn his book The Art of Dramatic Writing, published 1946, Lajos Egri argued for\nmore look inside of character's minds and that character generates conflict, which\ngenerates events. He cites Moses Louis Malevinsky's The Science of Playwriting\nand The Theory of Theater by Clayton Hamilton. Unlike previous works he cites\nfrom, he emphasized the importance of premise to a play.[73]\n\nHe is also far more interested in looking at character creating conflict and events,\nthan events shaping characters. He states this by arguing for different kinds of\nconflict: Static, jump and rise.[74] These in turn can also be an attack or\ncounterattack.[75] He argues that Rising conflict is the best at revealing\ncharacter.[76]\n\nHe also examines character through the lens of physiology, sociology and\npsychology.[77]\n\nHis work influenced Syd Field, who went onto make the 3-act Hollywood\nformula.[78]\n\nSyd Field[edit]\n\n\n\n\nA visual representation of the three-act structure.\n\fSyd Field in 1979 published Screenplay: The Foundations of Screenwriting. He\noutlined that the structure of the play should be:\n\nAct I contains the setup. It is approximately the first quarter of a screenplay, and\nreveals the main character, premise, and situation of the story.\n\nAct II contains the confrontation. It lasts for the next two quarters of the\nscreenplay, and clearly defines the main goal of the protagonist.\n\nAct III contains the resolution. This is the final quarter of the screenplay. This\nanswers the question as to whether or not the main character succeeded in his or\nher goal.\n\nHe outlined in the 2005 edition of his book Foundations of a Screenplay, that he\nwanted to give a more set structure to the work that Lajos Egri had laid out.[78]\n\nHe was the first to really coin the Three Act model as a formal model for\nscreenplays.[79]\n\nTheatre of the Absurd[edit]\n\nCritic Martin Esslin coined the term in his 1960 essay \"The Theatre of the Absurd\",\nwhich begins by focusing on the playwrights Samuel Beckett, Arthur Adamov, and\nEugène Ionesco. Esslin says that their plays have a common denominator — the\n\"absurd\", a word that Esslin defines with a quotation from Ionesco: \"absurd is that\nwhich has not purpose, or goal, or objective.\"[80][81] The French philosopher Albert\nCamus, in his 1942 essay \"Myth of Sisyphus\", describes the human situation as\nmeaningless and absurd.[82]\n\nPlot-wise it often undercuts the conflict in the story and mocks the human\ncondition. It often lacks any formal plot structure. Often nothing really gets\nresolved.\n\nTelevision Story Arcs[edit]\n\nTelevision multiple-episode story arcs were not popular until 1981, with the\nintroduction of Hill Street Blues.[83][84] Prior to that, episodes could be shifted in\norder without audience confusion. Multiple-episode story arcs took off in the 1990s,\nwith many of the popular television shows employing them. Xena: Warrior\nPrincess, Hercules: The Legendary Journeys, Boy Meets World, and Batman: The\nAnimated Series all had story arcs.\n\nNorthrop Frye's dramatic structure[edit]\n\nThe Canadian literary critic and theorist Northrop Frye analyzes the narratives of\nthe Bible in terms of two dramatic structures: (1) a U-shaped pattern, which is the\nshape of a comedy, and (2) an inverted U-shaped pattern, which is the shape of a\ntragedy.\n\fA U-shaped pattern[edit]\n\n\"This U-shaped pattern…recurs in literature as the standard shape of comedy,\nwhere a series of misfortunes and misunderstandings brings the action to a\nthreateningly low point, after which some fortunate twist in the plot sends the\nconclusion up to a happy ending.\"[85] A U-shaped plot begins at the top of the U\nwith a state of equilibrium, a state of prosperity or happiness, which is disrupted by\ndisequilibrium or disaster. At the bottom of the U, the direction is reversed by a\nfortunate twist, divine deliverance, an awakening of the protagonist to his or her\ntragic circumstances, or some other action or event that results in an upward turn\nof the plot. Aristotle referred to the reversal of direction as peripeteia or\nperipety,[86] which depends frequently on a recognition or discovery by the\nprotagonist. Aristotle called this discovery an anagnorisis—a change from\n\"ignorance to knowledge\" involving \"matters which bear on prosperity or\nadversity\".[87] The protagonist recognizes something of great importance that was\npreviously hidden or unrecognized. The reversal occurs at the bottom of the U and\nmoves the plot upward to a new stable condition marked by prosperity, success, or\nhappiness. At the top of the U, equilibrium is restored.\n\nA classic example of a U-shaped plot in the Bible is the Parable of the Prodigal Son\nin Luke 15:11–24. The parable opens at the top of the U with a stable condition but\nturns downward after the son asks the father for his inheritance and sets out for a\n\"distant country\" (Luke 15:13). Disaster strikes: the son squanders his inheritance\nand famine in the land increases his dissolution (Luke 15:13–16). This is the bottom\nof the U. A recognition scene (Luke 15:17) and a peripety move the plot upward to\nits dénouement, a new stable condition at the top of the U.\n\nAn inverted U-shaped structure[edit]\n\nThe inverted U begins with the protagonist's rise to a position of prominence and\nwell-being. At the top of the inverted U, the character enjoys good fortune and well-\nbeing. But a crisis or a turning point occurs, which marks the reversal of the\nprotagonist's fortunes and begins the descent to disaster. Sometimes a recognition\nscene occurs where the protagonist sees something of great importance that was\npreviously unrecognized. The final state is disaster and adversity, the bottom of the\ninverted U.[citation needed]\n\nContemporary[edit]\n\nContemporary dramas increasingly use the fall to increase the relative height of the\nclimax and dramatic impact (melodrama). The protagonist reaches up but falls and\nsuccumbs to doubts, fears, and limitations. The negative climax occurs when the\nprotagonist has an epiphany and encounters the greatest fear possible or loses\nsomething important, giving the protagonist the courage to take on another\nobstacle. This confrontation becomes the classic climax.[88]\n\nIn her 2019 book Meander, Spiral, Explode: Design and Pattern in Narrative\nnovelist and writing teacher Jane Alison criticized the conflict-climax-resolution\n\fstructure of narrative as \"masculo-sexual,\" and instead argues that narratives\nshould form around various types patterns, for example found in nature.[89][90]\n\nSee also[edit]\n • Eight-legged essay\n • Frame story\n • Harawi\n • Jo-ha-kyū – dramatic arc in Japanese aesthetics.\n • Karagöz\n • Kishōtenketsu – a structural arrangement used in traditional Chinese, Korean\n and Japanese narratives.\n • Narrative transportation\n • Scene and sequel\n • Sonata form\n • Ta'zieh – A form found in Iran and other Islamic countries.\n • Three-act structure\n\nNotes[edit]\n 1. ^ \"The African story-telling tradition in the Caribbean\". 16 August 2009.\n 2. ^ \"09.01.08: Keeping the Tradition of African Storytelling Alive\".\n 3. ^ Robleto http://narrativestructures.wisc.edu/home/robleto\n 4. ^ \"Korean literature – Early Chosŏn: 1392–1598\".\n 5. ^ \"Objects We Love: Dream Record\". YouTube.\n 6. ^ The significance of plot without conflict\n 7. ^ Jump up to: a b c d e Elman, Benjamin A. (2009). \"Eight-Legged Essay\"\n (PDF). In Cheng, Linsun (ed.). Berkshire Encyclopedia of China. Berkshire\n Publishing Group. pp. 695–989. ISBN 9780190622671.\n 8. ^ Teele, Roy E.; Shou-Yi, Ch'ên (1962). \"Chinese Literature: A Historical\n Introduction\". Books Abroad. 36 (4): 452. doi:10.2307/40117286.\n ISSN 0006-7431. JSTOR 40117286.\n 9. ^ Zeami. \"Teachings on Style and the Flower (Fūshikaden).\" from Rimer &\n Yamazaki. On the Art of the Nō Drama. p20.\n 10. ^ Saleem, Sobia. \"\"NEVER TRUST THE TELLER,\" HE SAID. \"TRUST THE\n TALE\": NARRATIVE TECHNIQUE FROM THE ARABIAN NIGHTS TO\n POSTMODERN ADAPTATIONS BY RABIH ALAMEDDINE AND PIER\n PASOLINI\" (PDF). UC Santa Cruz. Retrieved 18 October 2021.\n 11. ^ Chaudhary, Suchitra Bajpai. \"Hakawati: the ancient Arab art of\n storytelling\". Gulf News. Retrieved 18 October 2021.\n 12. ^ Ersin Alok, \"Karagöz-Hacivat: The Turkish Shadow Play\", Skylife - Şubat\n (Turkish Airlines inflight magazine), February 1996, pp. 66–69.\n 13. ^ Emin Senyer, Parts of Turkish Shadow Theatre Karagoz Archived\n 2011-09-02 at the Wayback Machine, karagoz.net. Accessed online 22\n October 2007.\n 14. ^ Chelkowski, Peter (2003). \"Time Out of Memory: Ta'ziyeh, the Total\n Drama\". Asia Society. Retrieved 11 November 2017.\n 15. ^ Perseus Digital Library (2006). Aristotle, Poetics\n\f16. ^ https://lexicon.katabiblon.com/index.php?lemma=%CE%BB%E1%BD\n %BB%CF%83%CE%B9%CF%82.\n17. ^ Poetics 18\n18. ^ \"Aristotle's Poetics\". Gutenberg Dot Org.\n19. ^ Poetics 19\n20. ^ Poetics 8\n21. ^ Poetics 9\n22. ^ Poetics 11\n23. ^ Poetics 12\n24. ^ [Poetics http://www.authorama.com/the-poetics-15.html]\n25. ^ \"The Poetics – 12 (Aristotle on the Art of Poetry)\".\n26. ^ \"Are new movies longer than they were 10, 20, 50 year ago?\". 28\n December 2018.\n27. ^ Donatus, Aelius (1905). Aeli Donati quod fertur Commentum Terenti:\n Accedunt Eugraphi Volume 2. p. 4.\n28. ^ Jump up to: a b Donatus, Aelius (1905). Aeli Donati qvod fertvr\n Commentvm Terenti: Accentvnt Evgraphi Volume 2. p. 189.\n29. ^ Online Books by Aelius Donatus\n30. ^ \"Shakespeare Sunday – Hamlet: Of Acts and Scenes\".\n31. ^ \"Intro\".\n32. ^ Freytag p 41\n33. ^ Jeffers 2005, p. 49.\n34. ^ Swales, Martin. The German Bildungsroman from Wieland to Hesse.\n Princeton: Princeton University Press, 1978. 38.\n35. ^ Jump up to: a b c Freytag (1900, p. 115)\n36. ^ Freytag, Gustav Die Technik des Dramas\n37. ^ University of South Carolina (2006). The Big Picture Archived October 23,\n 2007, at the Wayback Machine\n38. ^ University of Illinois: Department of English (2006). Freytag's Triangle\n Archived July 16, 2006, at the Wayback Machine\n39. ^ Freytag, Gustav (1863). Die Technik des Dramas (in German). Archived\n from the original on 16 January 2009. Retrieved 20 January 2009.\n40. ^ Freytag (1900, pp. 104–105)\n41. ^ Freytag. pp. 25, 41, 75, 98, 188–189\n42. ^ Freytag. pp. 80–81\n43. ^ Freytag. p. 90\n44. ^ Freytag. pp. 94–95\n45. ^ Freytag p. 29\n46. ^ Freytag (1900, pp. 115–121)\n47. ^ Freytag (1900, pp. 125–128)\n48. ^ Freytag (1900, pp. 128–130)\n49. ^ Freytag (1900, pp. 133–135)\n50. ^ Freytag. p 137\n51. ^ Freytag (1900, pp. 137–140)\n52. ^ \"dénouement\". Cambridge Dictionary\n53. ^ \"Denouement\". quword. Retrieved 28 September 2021.\n54. ^ Stanhope, Philip, Lord Chesterfield. \"Chesterfield's Letters to His Son\". The\n Gutenberg Project. The Gutenberg Project. Retrieved 28 September 2021.\n55. ^ Jump up to: a b c Whitcomb, Selden L. (1905). The Study of a Novel.\n\f University of Kansas. Retrieved 22 December 2021.\n56. ^ Jump up to: a b Esenwein, Joseph Berg (1909). Writing the short-story; a\n practical handbook on the rise, structure, writing, and sale of the modern\n short-story. Hinds, Noble & Eldredge.\n57. ^ Jump up to: a b Hamilton, Clayton (1918). The Art of Fiction. New York:\n Doubleday, Page & Company.\n58. ^ Maureen Honey, Creating Rosie the Riveter: Class, Gender and\n Propaganda during World War II, p. 139, ISBN 0-87023-443-9\n59. ^ Maureen Honey, Creating Rosie the Riveter: Class, Gender and\n Propaganda during World War II, p. 141-43, ISBN 0-87023-443-9\n60. ^ Lubbock, Percy (1921). The Craft of Fiction. London. p. 14.\n61. ^ Lubbock, Percy (1921). The Craft of Fiction. London. p. 18.\n62. ^ Lubbock, Percy (1921). The Craft of Fiction. London. p. 29.\n63. ^ Lubbock, Percy (1921). The Craft of Fiction. London. pp. 32, 41, 57.\n64. ^ Lubbock, Percy (1921). The Craft of Fiction. London. p. 81.\n65. ^ Woolf, Virginia (1980). he Diary of Virginia Woolf Volume Two (First ed.).\n Harcourt Brace. p. 272.\n66. ^ Bronstein, Michaela. \"The Craft of Fiction\". Yale. Retrieved 30 December\n 2021.\n67. ^ Rowe, Kenneth (1939). Write that Play. Funk & Wagnalls Company. p. 28.\n68. ^ Rowe, Kenneth (1939). Write that Play. Funk & Wagnalls Company. p. 54.\n69. ^ Rowe, Kenneth (1939). Write that Play. Funk & Wagnalls Company. p. 61.\n70. ^ Rowe, Kenneth (1939). Write that Play. Funk & Wagnalls Company. p. 60.\n71. ^ Rowe, Kenneth (1939). Write that Play. Funk & Wagnalls Company.\n pp. 60–61.\n72. ^ Rowe, Kenneth (1939). Write That Play. New York: Funk and Wagnalls.\n p. dust jacket.\n73. ^ Egri, Lajos (1946). The Art of Dramatic Writing. Touchstone. pp. 1–31.\n74. ^ Egri, Lajos (1946). The Art of Dramatic Writing. Touchstone. pp. 173–174.\n75. ^ Egri, Lajos (1946). The Art of Dramatic Writing. Touchstone. p. 171.\n76. ^ Egri, Lajos (1946). The Art of Dramatic Writing. Touchstone. pp. 148, 169.\n77. ^ Egri, Lajos (1946). The Art of Dramatic Writing. Touchstone. pp. 35–37.\n78. ^ Jump up to: a b Field, Syd (1979). Screenwriting: The Foundations of a\n Screenplay (2005 ed.). Dell Publishing Company. p. 1.\n79. ^ Jill Chamberlain (1 March 2016). The Nutshell Technique: Crack the Secret\n of Successful Screenwriting. University of Texas Press. p. 24.\n ISBN 978-1-4773-0866-0.\n80. ^ https://www.jstor.org/stable/1124873?origin=JSTOR-pdf&seq=1 Esslin,\n Martin. Essay: \"The Theatre of the Absurd\". The Tulane Drama Review, Vol.\n 4, No. 4 (May, 1960), Publisher: MIT Press. pp. 3-15\n81. ^ Esslin, Martin (1961). The Theatre of the Absurd. OCLC 329986.\n82. ^ Culík, Jan (2000). \"THE THEATRE OF THE ABSURD: THE WEST AND\n THE EAST\". University of Glasgow. Archived from the original on 23 August\n 2009.\n83. ^ \"8 gritty facts about 'Hill Street Blues'\".\n84. ^ \"15 Surprising Facts About Hill Street Blues\".\n85. ^ Frye, Great Code, 169.\n86. ^ Aristotle, Poetics, Loeb Classical Library 199, ed. and trans. by Stephen\n Halliwell (Cambridge, MA: Harvard University Press, 1995), 11.\n\f 87. ^ Ibid.\n 88. ^ Teruaki Georges Sumioka: The Grammar of Entertainment Film, 2005,\n ISBN 978-4-8459-0574-4; lectures at Johannes-Gutenberg-University in\n German[permanent dead link]\n 89. ^ Waldman, Katy (2 April 2019). \"The Deeply Wacky Pleasures of Jane\n Alison's \"Meander, Spiral, Explode\"\". The New Yorker. Retrieved 29 January\n 2020.\n 90. ^ Alison, Jane (2019). Meander Spiral Explode. New York: Catapult. p. 9.\n\nReferences[edit]\n • Freytag, Gustav (1900) [Copyright 1894], Freytag's Technique of the\n Drama, An Exposition of Dramatic Composition and Art by Dr. Gustav\n Freytag: An Authorized Translation From the Sixth German Edition by Elias\n J. MacEwan, M.A. (3rd ed.), Chicago: Scott, Foresman and Company,\n LCCN 13-283\n\nExternal links[edit]\n Look up dénouement in Wiktionary, the free dictionary.\n\n\n • Another view on dramatic structure\n • What's Right With The Three Act Structure by Yves Lavandier, author of\n Writing Drama\n\f", "span": null, "lang": "en", "meta": {"fallback": "pdftotext"}} diff --git a/backend/libraries/dsa/corpus.shadow.jsonl b/backend/libraries/dsa/corpus.shadow.jsonl deleted file mode 100644 index e69de29..0000000 diff --git a/backend/libraries/dsa/library.json b/backend/libraries/dsa/library.json index dad9cff..f88d4d0 100644 --- a/backend/libraries/dsa/library.json +++ b/backend/libraries/dsa/library.json @@ -3,29 +3,8 @@ "name": "dsa", "slug": "dsa", "created_at": "2026-03-19T20:49:15Z", - "files": [ - { - "sha256": "259b04f8f364d7dc890f081b366e2c324d3c1ec04ac5d0ca92a5acce70f9e630", - "path": "/Users/giers/Documents/Dramatic structure - Wikipedia.pdf", - "rel": "259b04f8f364d7dc890f081b366e2c324d3c1ec04ac5d0ca92a5acce70f9e630--Dramatic_structure_-_Wikipedia.pdf", - "name": "Dramatic structure - Wikipedia.pdf", - "size": 672524, - "added_at": "2026-03-19T20:49:21Z", - "sync_status": "pending" - }, - { - "sha256": "ee60f8138669faf3b708b07b711caa0085c302331c94ce3f62816009e4cb3275", - "path": "/Users/giers/Documents/Daniel Kahneman - Schnelles Denken, langsames Denken (2012, Siedler Verlag) - libgen.li.pdf", - "rel": "ee60f8138669faf3b708b07b711caa0085c302331c94ce3f62816009e4cb3275--Daniel_Kahneman_-_Schnelles_Denken_langsames_Denken_2012_Siedler_Verlag_-_libgen.li.pdf", - "name": "Daniel Kahneman - Schnelles Denken, langsames Denken (2012, Siedler Verlag) - libgen.li.pdf", - "size": 3078733, - "added_at": "2026-03-19T20:51:16Z", - "sync_status": "pending" - } - ], + "files": [], "pipeline": { - "pending_prepare_signature": "681fecaea08d1dc8acd4bff0ee7d347b169fe40ac4561b3b4d646f3e8884cb48", - "pending_prepare_updated_at": "2026-03-19T20:51:16Z", "corpus_signature": "ac4634da7d1957fd2683d57ca76becac493caccc2a3a6f4383d3d4b5820e6d60", "corpus_updated_at": "2026-03-19T20:49:24Z" } diff --git a/backend/libraries/dsa/stage/259b04f8f364d7dc890f081b366e2c324d3c1ec04ac5d0ca92a5acce70f9e630--Dramatic_structure_-_Wikipedia.pdf b/backend/libraries/dsa/stage/259b04f8f364d7dc890f081b366e2c324d3c1ec04ac5d0ca92a5acce70f9e630--Dramatic_structure_-_Wikipedia.pdf deleted file mode 120000 index f548f46..0000000 --- a/backend/libraries/dsa/stage/259b04f8f364d7dc890f081b366e2c324d3c1ec04ac5d0ca92a5acce70f9e630--Dramatic_structure_-_Wikipedia.pdf +++ /dev/null @@ -1 +0,0 @@ -/Users/giers/Documents/Dramatic structure - Wikipedia.pdf \ No newline at end of file diff --git a/backend/libraries/dsa/stage/ee60f8138669faf3b708b07b711caa0085c302331c94ce3f62816009e4cb3275--Daniel_Kahneman_-_Schnelles_Denken_langsames_Denken_2012_Siedler_Verlag_-_libgen.li.pdf b/backend/libraries/dsa/stage/ee60f8138669faf3b708b07b711caa0085c302331c94ce3f62816009e4cb3275--Daniel_Kahneman_-_Schnelles_Denken_langsames_Denken_2012_Siedler_Verlag_-_libgen.li.pdf deleted file mode 120000 index 6d18252..0000000 --- a/backend/libraries/dsa/stage/ee60f8138669faf3b708b07b711caa0085c302331c94ce3f62816009e4cb3275--Daniel_Kahneman_-_Schnelles_Denken_langsames_Denken_2012_Siedler_Verlag_-_libgen.li.pdf +++ /dev/null @@ -1 +0,0 @@ -/Users/giers/Documents/Daniel Kahneman - Schnelles Denken, langsames Denken (2012, Siedler Verlag) - libgen.li.pdf \ No newline at end of file