Rebecca M. M. Hicke, Sil Hamilton, David Mimno +1cs.CL
Works of literature are complicated; they balance plot, suspense, surprise, and artistic expression. Summaries of literature prioritize plot, and therefore may deviate from their sources. Using a combination of manual and LLM-based annotation, we construct a dataset mapping sentences from 150 novel summaries to their respective source chapters. We find the task unexpectedly difficult for both human and model annotators. Using the sentence-to-chapter mappings, we then measure summary linearity, the degree to which it maintains the source's order of events, and uniformity, the degree to which a summary spreads attention equally across a source. By examining when and how summaries break linearity and uniformity, we identify differences in how literary works and summaries express plot, particularly with regard to the clarity and prominence with which narrative details are described.
Creativity is often framed as the production of novelty, yet many cultural works emerge through transformation of earlier artifacts and not through isolated invention. Drawing on theories of imitation by Gabriel Tarde and James Mark Baldwin, this paper models creativity as selective transformation across multiple levels of textual representation. We introduce a multi-level framework that compares literary texts across lexical, semantic, conceptual, structural, and narrative dimensions using directional alignment and control calibrated similarity measures. Applying the model to historically documented literary relationships, we show that different pairs preserve source structure at different representational levels while diverging in others. These transformation profiles provide a quantitative method for characterizing how imitation persists and where creative divergence occurs within literary works.
Masculinity in nineteenth-century fiction is not a single ideal but a field of competing scripts. Drawing on 150 British and American canonical novels from the txtLAB Novel450 corpus, published between 1771 and 1930, this paper examines the changing relative prominence of competing models of masculine authority. To focus the analysis on masculine characterisation, the study extracts male-character-centred text windows by using coreference resolution to group names, nominal mentions, and pronouns into character-specific reference chains. It then fits an unsupervised structural topic model with publication year and author gender as topic-prevalence covariates. The model identifies six distinct masculine formations: aristocratic-chivalric, Christian manhood, gentlemanly respectability, country squire, professional-commercial, and imperial/adventure. Across the corpus, formations tied to inherited rank and sacred authority decline, while those organised around paid work and adventure rise. The largest increase occurs not in professional-commercial breadwinning but in imperial/adventure masculinity, particularly the frontier-wilderness register. The trajectory points to a reallocation from inherited and sacred status towards achieved, commercial, and expansionary forms of masculine authority. Adventurous and commercial formations are also more prevalent in novels by authors recorded as male. Because these formations emerge without a seeded vocabulary yet align with categories established in independent scholarship, the article offers a reproducible method for measuring the reorganisation of gendered authority across the long nineteenth century.
I treat a book as a point in a sentence-embedding space and a literary transformation as an operation on points. Given an original novel and its sequel, I ask what it takes, geometrically, to turn the first into the second. Using all-mpnet-base-v2 paragraph embeddings drawn from a precomputed index of the PG19 corpus, I form the displacement $d=\bar{x}_{\rm seq}-\bar{x}_{\rm orig}$ and greedily decompose it along a content basis obtained by PCA over the two books' own paragraphs. Each component is an interpretable axis anchored by real passages at its poles. Across thirteen verified author pairs from Project Gutenberg, the decomposition reveals a small taxonomy of sequels: formulaic (a tiny, low-rank change: Doyle's Holmes collections, $\|d\|=0.12$), concentrated (one dominant axis: Alcott's Little Women $\to$ Little Men, 75% on a single move), and compositional (many small axes: Twain, Burroughs's Barsoom, Nesbit). For the canonical case, Tom Sawyer $\to$ Huckleberry Finn, the dominant recovered axis is structural -- the collapse of sheltering domesticity into a picaresque road -- rather than the famous surface themes of vernacular voice or slavery, which ride later, smaller axes; and the transformation routes through adventure-journey space rather than diluting toward generic realism. I corroborate the recovered geometry against Twain's documented authorial intent (his 1875--76 letters to Howells), which names the first-person picaresque move years in advance, and I quantify, with an explicit representation caveat, how much of the realized transformation his stated intentions span. All computations are reproducible from the released scripts and data.
We ask whether the geographic origin of Tang-dynasty poets leaves a detectable linguistic trace in their work. Aggregating every poem attributed to each author in the Complete Tang Poems (Quan Tang Shi) and linking poets to their administrative circuit of origin via the China Biographical Database (CBDB), we build a poet-level corpus of 357 poets across the ten Tang circuits and frame origin prediction as multi-class classification. Using character $n$-gram TF-IDF together with interpretable domain features (imagery, season, and allusion), classical and neural models predict a poet's broad region (South vs.\ North) at $0.69$ accuracy, well above the $0.53$ majority baseline, and finer circuit-level origin above chance. Beyond classification, three findings emerge. (i) Linguistic distance between circuits grows with geographic distance (Mantel $r=0.40$, $p\approx0.09$ over nine circuits), evidence of a distance-decay effect in poetic language. (ii) The signal interacts with time: South/North separability is at chance in the High Tang and strongest in the Late Tang, consistent with court-driven homogenization at the empire's height followed by regional divergence. (iii) The model's confident errors are historically meaningful -- in the Early Tang, every misclassification is a southern poet read as northern, reflecting the prestige of the northern court idiom. We further show that, when given the whole corpus through a hierarchical frozen-encoder representation, a classical-Chinese transformer (GuwenBERT) only matches -- not beats -- simple TF-IDF, and that combining them adds nothing, indicating that character $n$-grams already capture the regional signal. Our results position interpretable machine learning as a hypothesis generator for literary history.