diff --git a/docs/run-costs.md b/docs/run-costs.md index 5e8c2fa..faa3645 100644 --- a/docs/run-costs.md +++ b/docs/run-costs.md @@ -50,5 +50,8 @@ $3／$15、opus-4-6 $5／$25、opus-5 與 fable-5 $10／$50） | 2026-08-15 | 05-01-read | run3 | claude-fable-5 | msgbatch_01Unn7C7WCnuVoLraJRXksoG | 7 分 59 秒 | 191,459 | 190,433 | $5.72 | 現行（145/145 有效） | | 2026-08-15 | 05-02-consolidate | run1 | claude-fable-5 | msgbatch_01WPyH4pCCiieHs4yU3xtHzN | 2 分 28 秒 | 326,287 | 242,785 | $7.70 | 現行（145/145 有效） | | 2026-08-15 | 05-03-synthesize | run1 | claude-fable-5 | msgbatch_01XbNQb1SFrUxhk2ZWF7epPA | 3 分 0 秒 | 103,888 | 9,982 | $0.77 | 現行（15 個樣態；研究者審定用草稿） | +| 2026-08-15 | 05-03-synthesize | run2 | claude-fable-5 | msgbatch_01FKqq8U6m5HLLsx7KpQES26 | 3 分 4 秒 | 13,573 | 6,883 | $0.24 | 現行（男聲群 14 首；13 個樣態） | +| 2026-08-15 | 05-03-synthesize | run3 | claude-fable-5 | msgbatch_017tfhiRTnaxqCp6YFyoivsu | 4 分 4 秒 | 60,727 | 8,519 | $0.52 | 現行（女聲群 98 首；14 個樣態） | +| 2026-08-15 | 05-03-synthesize | run4 | claude-fable-5 | msgbatch_01SNjTLiNPEba4LW2tcUAcTJ | 4 分 3 秒 | 29,958 | 9,793 | $0.39 | 現行（混合群 30 首；16 個樣態） | -累計支出：$88.80。 +累計支出：$89.95。 diff --git a/runs/05-03-synthesize/run2/meta.json b/runs/05-03-synthesize/run2/meta.json new file mode 100644 index 0000000..8a1a39b --- /dev/null +++ b/runs/05-03-synthesize/run2/meta.json @@ -0,0 +1,25 @@ +{ + "script_version": "run_llm.py 3.1.0", + "model": "claude-fable-5", + "temperature": null, + "thinking": null, + "max_tokens": 32000, + "prompt_path": "../prompts/05-03-synthesize.md", + "prompt_sha256": "90ed14f43153fd8184929e80315d660ca8516466bffa857e669bb2985829a365", + "input_path": "instance/llm-input-synthesize-male.jsonl", + "input_sha256": "aa0848e7a33e1c579ff3edfc60f3df8c62d15ef2e1464dfc20b4f5acd8ee9a17", + "item_count": 1, + "dry_run": false, + "started_at": "2026-08-15T17:12:34+08:00", + "batch": { + "batch_id": "msgbatch_01FKqq8U6m5HLLsx7KpQES26", + "submitted_at": "2026-08-15T17:12:35+08:00", + "ended_at": "2026-08-15T09:15:03.223864+00:00" + }, + "usage": { + "cache_creation_input_tokens": 0, + "cache_read_input_tokens": 0, + "input_tokens": 13573, + "output_tokens": 6883 + } +} diff --git a/runs/05-03-synthesize/run2/output.jsonl b/runs/05-03-synthesize/run2/output.jsonl new file mode 100644 index 0000000..f24903c --- /dev/null +++ b/runs/05-03-synthesize/run2/output.jsonl @@ -0,0 +1 @@ +{"id": "synthesis", "text": "## 模式一：將女性化約為身體部位與可品評物件\n\n女性在歌詞中不以完整的人出現，而是被化約為特定身體部位、以「it」「that thing」等物件代稱，或直接比擬為資產、商品，由男性敘事者逐項打量、驗貨、打分。這種化約使女性成為供觀看與取用的客體，其「真假」「行情」皆可被檢視估值，主體性在語言層面即被抹除。\n\n- 「Bring that ass, bring that ass, bring that ass back!」（song-198）\n- 「El culo real, pero las teta' son plastic」（song-613）\n- 「Heart full of equity, you're an asset」（song-381）\n\n## 模式二：以命令句指揮女性的身體與行為\n\n男性聲部大量使用祈使句，直接規定女性該如何擺弄身體、如何展示自己、該對誰說什麼；即使表面內容是「稱讚」或「賦權」，語法上的指令位置仍使女性成為被指揮的執行者，行動的發動權握在說話的男性手中。\n\n- 「Bend it over, lift it up, bend it over, lift it up / Make that jump, jump」（song-200）\n- 「Stay in the kitchen cookin' up, got your own bread」（song-381）\n- 「Tell 'em that it's over, ain't no debatin'」（song-295）\n\n## 模式三：男性單一視角代言，女性全程無聲\n\n全曲由男性敘事者獨白，女性的內心、慾望、過去與人生選擇皆由男方轉述、詮釋與定義；她沒有名字、沒有自己的聲部，或即使有女聲也只被分配無實質內容的和聲。男性自認能讀出她的「真實心意」，她的存在被化約為男性經驗中的事件與素材。\n\n- 「I know shorty and she doesn't want no slow song」（song-200）\n- 「Your song comes on and your eyes close, that's when I know, yeah」（song-427）\n- 「Don't know what happened to her / But she bout to happen to me」（song-854）\n\n## 模式四：金錢供養與親密關係的交易腳本\n\n親密關係被鋪排為「男性出資、女性以身體或忠誠回報」的對價結構：男方以信用卡、保險箱密碼、購物、開店承諾滿足想像中的女性需求，女方的消費被恩賜化；即使女聲展現議價姿態，其權力來源仍繫於男性錢包，複製女性經濟依附的框架。\n\n- 「And when I take you shopping you spend it like you earned it」（song-198）\n- 「American Express, you can have it all / Code to the safe, you can have it all」（song-671）\n- 「I need that black card and the code to the safe」（song-198）\n\n## 模式五：性的雙重標準與貞潔敘事\n\n男性敘事者一面炫耀自己四處留情、性能力過人，一面審查女方的性史、迷戀其「初次」與「空白」，或嘲弄其性選擇；性征服是男性的本錢，性歷史卻是女性的污點，形成明確的雙重標準與處女情結式的評價機制。\n\n- 「How many bodies you got? / Pray it ain't more than a few」（song-671）\n- 「I know I get around 'cause I like to move freely / But you could lock it down」（song-295）\n- 「Said she never made love, but she good at it (she good at it)」（song-312）\n\n## 模式六：挪用女性賦權語彙並掏空其意涵\n\n原屬女性自主、自我賦權的語句與符號（「girls just wanna have fun」「hot girl」、女性的「解放」與自由）被男性敘事挪用後翻轉：或改寫為所有女性圍繞男性打轉，或接上嘲弄字眼加以譏諷，或把女性「為自己而活」的行為重新詮釋為對男性的性可得性，使賦權語彙淪為服務男性慾望的裝飾。\n\n- 「Oh, girls just wanna have fun with it (fun with it) / All the girls just wanna have fun with me (fun with me)」（song-312）\n- 「This that hot girl bummer anthem」（song-390）\n- 「Hoy se quiere soltar / No quiere amarrarse, solo quiere」（song-613）\n\n## 模式七：架空拒絕與同意\n\n女性明確的拒絕被詮釋為欲擒故縱的測試遊戲，設下的界線被描述為男性必須「攻破」的障礙；同時在對方飲酒、情感脆弱、判斷力可能受損的情境下推進追求，把踩剎車的責任推給女方、預設沉默即同意，使「不就是不」的同意原則在敘事中失效。\n\n- 「Ask you to dance, you say \"No\" just to see how far I'll go」（song-427）\n- 「You got your heart on lock down, got a wall I gotta knock down」（song-427）\n- 「But she's in here chasing tequila with High Noon」（song-854）\n\n## 模式八：「紅顏禍水」式的歸咎敘事\n\n行使自主權、主動離開或單純存在的女性，被描繪為蓄意誘惑、摧毀男性的危險力量；男性的心碎、慾望與情感責任被整批轉嫁到女方身上，主動選擇的女性被貼上「會傷害男人」「應被警惕」的標籤，男性則自居受害者。\n\n- 「She'll wreck your world / And leave before the mornin' sun」（song-714）\n- 「Don't even know she's bout to wreck someone」（song-854）\n- 「I seen how you did homeboy, so please take it easy」（song-295）\n\n## 模式九：男性自居評價者、授權者與守門人\n\n即使歌詞表面在讚美或「聲援」女性，評價與認可的權力始終在男性手上：由他審核她「帶了什麼上桌」、裁定她的展現「沒關係」、宣稱她不需要外界認可（而正是由他來確保這一點），甚至她的事業與夢想也取決於男方的一通電話，女性的價值須經男性核可方能成立。\n\n- 「And you showin' off, but it's alright (alright!)」（song-200）\n- 「Already pass, you don't need no approval」（song-381）\n- 「Girl, one call, I'll get you in Vogue / One call, you in runway shows」（song-671）\n\n## 模式十：單向忠誠要求與占有控制\n\n忠誠、順從與情緒供給的義務僅單方面加諸女性：以誓詞式逼問要求她永不離開、擅自切斷她的人際關係與通訊、以暴力威脅框限其社交自主，或要求她無條件附和、拒絕被質疑；未見任何對等的承諾結構，關係權力全然不對等。\n\n- 「Kiki, do you love me? Are you riding? / Say you'll never ever leave from beside me」（song-198）\n- 「All your stupid exes, they gon' call again / Tell 'em that a real nigga steppin' in」（song-295）\n- 「One wrong call from your ex nigga sayin' dumb shit'll get him sent home」（song-671）\n\n## 模式十一：貶抑其他女性以襯托眼前對象、將女性可替換化\n\n歌詞以「hoes」等厭女詞彙貶低其他女性、抹黑女性情誼、暗示多數女性只想依附，藉此抬高眼前這一位「特別」的女子；而她的特別又建立在男性閱女無數的比較之上，女性整體被放進可品評、汰選、互換的集合，並被挑動彼此敵意。\n\n- 「Hoes talk down, you don't see 'em outside」（song-200）\n- 「Got 'em same goals, they don't wanna be independent ('Pendent)」（song-381）\n- 「I know you special girl cause I know too many」（song-198）\n\n## 模式十二：動物化、幼體化與馴服框架\n\n女性被比擬為馬匹等可騎乘、可駕馭的動物，或以「小東西」「小寶貝」等幼體化、寵物化稱呼矮化；即使以否定句表態「不馴服她」，仍預設馴服女人是常態選項，男性居於決定馴服與否、施予自由與否的權力位置。\n\n- 「Love you like a mustang」、「One hand on them giddy-up reins」（song-744）\n- 「'Cause I ain't tryna tame her love」（song-714）\n- 「Pretty lil' thing, you got a bag and now you wildin'」（song-295）\n\n## 模式十三：以性征服炫耀男性氣概、將性框架為男性間的較量\n\n性行為被以狩獵、命中、考驗等語彙描述為男性的戰績與資本：或炫耀能奪取他人伴侶、或以陽具與性能力自誇、或挑釁式質疑女方的「承受能力」，女性的意願缺席，僅作為男性之間比拚性能力的標的與戰利品。\n\n- 「Shawty say the nigga that she with can't hit / But shawty, I'ma hit it, hit it like I can't miss」（song-198）\n- 「They can't fit me in a Trojan」（song-390）\n- 「Yo estoy puesto, tú está' puesta, ¿y quién se atreve? / Dime quién se atreve」（song-613）", "stop_reason": "end_turn", "usage": {"cache_creation": {"ephemeral_1h_input_tokens": 0, "ephemeral_5m_input_tokens": 0}, "cache_creation_input_tokens": 0, "cache_read_input_tokens": 0, "inference_geo": "global", "input_tokens": 13573, "output_tokens": 6883, "output_tokens_details": {"thinking_tokens": 3745}, "service_tier": "batch"}} diff --git a/runs/05-03-synthesize/run2/prompt.md b/runs/05-03-synthesize/run2/prompt.md new file mode 100644 index 0000000..e62fee3 --- /dev/null +++ b/runs/05-03-synthesize/run2/prompt.md @@ -0,0 +1,41 @@ +You are inducing the recurring patterns in how the problems +appear across the consolidated reading reports of many songs. + +Input: a JSON object keyed by song ID (such as "song-11"), +each value the consolidated reading report of that song; a +report of 「無」 means no problem was found for that song. + +{ + "song-11": "consolidated report ...", + "song-95": "無" +} + +The reports come from feminist-perspective readings of each +song's lyrics; every item carries verbatim quotes and a +convergence mark, and the trailing 「僅單獨提及」 line of a +report holds the scattered findings of a single reading -- +take them into account when inducing the patterns, but draw +the representative quotes from the main lists only. + +Task: induce the patterns -- the recurring forms in which +the problems appear and operate -- across the reports. + +Rules: + +- A pattern describes how a problem works in the lyrics: + what is coupled with what, who speaks, how the mechanism + runs. It is not a category for filing problems, and not + every problem needs to belong to one; a pattern may also + cut across several kinds of problems. +- Induce the patterns from the report contents; never + introduce a problem or knowledge absent from the reports; + the number of patterns follows the material, with nothing + preset. +- For every pattern: a name, a paragraph describing the form + and how it operates, and two or three representative + quotes, each with its song ID. +- Describe and induce only; never evaluate severity, never + make recommendations. + +Output: Traditional Chinese (Taiwan usage). One section per +pattern; output nothing else. diff --git a/runs/05-03-synthesize/run3/meta.json b/runs/05-03-synthesize/run3/meta.json new file mode 100644 index 0000000..fb5d58b --- /dev/null +++ b/runs/05-03-synthesize/run3/meta.json @@ -0,0 +1,25 @@ +{ + "script_version": "run_llm.py 3.1.0", + "model": "claude-fable-5", + "temperature": null, + "thinking": null, + "max_tokens": 32000, + "prompt_path": "../prompts/05-03-synthesize.md", + "prompt_sha256": "90ed14f43153fd8184929e80315d660ca8516466bffa857e669bb2985829a365", + "input_path": "instance/llm-input-synthesize-female.jsonl", + "input_sha256": "e63c401dfce3dd3de1969afda2b2db46a55e2ac57c70eb2b4259b12f564c01f2", + "item_count": 1, + "dry_run": false, + "started_at": "2026-08-15T17:15:39+08:00", + "batch": { + "batch_id": "msgbatch_017tfhiRTnaxqCp6YFyoivsu", + "submitted_at": "2026-08-15T17:15:39+08:00", + "ended_at": "2026-08-15T09:19:21.041833+00:00" + }, + "usage": { + "cache_creation_input_tokens": 0, + "cache_read_input_tokens": 0, + "input_tokens": 60727, + "output_tokens": 8519 + } +} diff --git a/runs/05-03-synthesize/run3/output.jsonl b/runs/05-03-synthesize/run3/output.jsonl new file mode 100644 index 0000000..d87742b --- /dev/null +++ b/runs/05-03-synthesize/run3/output.jsonl @@ -0,0 +1 @@ +{"id": "synthesis", "text": "## 模式一：厭女詞彙的雙向流通——自稱與攻擊共用同一套貶稱\n\n大量報告呈現同一種語言機制：女性敘事者以「bitch」「hoes」「ho」等根源於貶低女性的詞彙，同時用於自我命名（常以「賦權」「挪用」姿態出現）與攻擊其他女性。由於同一詞彙在文本內兼作自誇與罵詞，其貶義功能持續運作，挪用的翻轉意涵被抵銷；即使全數出自女性之口，仍再生產「以侮辱女性的字眼定義女性」的語言結構，並使該詞彙常態化。\n\n- 「Said, lil bitch, you can't fuck with me if you wanted to」（song-122）\n- 「Bought matching diamonds for six of my bitches」（song-283）\n- 「I ain't got time for you fake-ass hoes」（song-338）\n\n## 模式二：陰性即侮辱、陽剛即力量的語言階序\n\n多份報告指出一種對稱的修辭：一方面以女性性器或陰柔特質（「pussy」「sissy」「bitch」）作為「懦弱、低劣」的罵詞，另一方面以男性身體符碼與陽剛資格（陰莖尺寸、「夠不夠男人」、big dick energy）作為力量與人格價值的度量。無論罵的是男是女，這套語言都預設「陰性＝可鄙、陽剛＝權力」，女性敘事者展現強悍時也須借用男性符碼命名自身力量。\n\n- 「If you a pussy, you get popped, you a groupie, you a opp」（song-122）\n- 「And you might think I'm weak without a sword / But if I had one, it'd be bigger than yours」（song-523）\n- 「You ain't the man, you ain't a man (you ain't nothin' but a)」（song-586）\n\n## 模式三：以男性為戰利品的女性敵對競爭\n\n跨越極多首歌的核心情節：女性之間的關係被框定為圍繞男性注意力、慾望與佔有的零和較勁——以「搶走妳的男人」「他有女友仍求見我」作為炫耀與羞辱手段，把男性當作女性互鬥的獎品與計分工具，並常升級為對其他女性的肢體暴力威脅展演；自我賦權建立在其他女性的失敗、恐懼與從屬之上，而非任何連帶。\n\n- 「Your baby daddy fuckin' me and suckin' me / He don't answer you, bitch, that's because of me」（song-338）\n- 「He got a girl, but he keep beggin' to see me」（song-521）\n- 「Slappin' rap bitches and makin' bail, ho」（song-758）\n\n## 模式四：男性過錯的責任轉嫁至女性\n\n當敘事涉及男性的背叛或失格，怒火與究責常偏移到女性身上：指向「第三者」、對方的新歡、母親姊妹等親屬，甚至內化為敘事者的自我懷疑；真正該負責的男性則在敘事中隱身、免責，形成「女人怪罪女人」「女人替男人的錯自責」的結構。\n\n- 「He only want me when I'm not there / He better call Becky with the good hair」（song-71）\n- 「I choose to blame your mom」（song-828）\n- 「You got me lookin' in the mirror different / Thinkin' I'm flawed because you inconsistent」（song-244）\n\n## 模式五：性—資源交易腳本\n\n性與親密關係被明碼標價為與男性金錢的交換：以性魅力換取名牌、學費、供養，以男方財力作為交往前提與篩選標準。即使以女性主動、掌控的口吻呈現，文本仍複製「男性出錢、女性以性回報」的性別化交易結構，把女性身體價值錨定在男性購買力上，而非挑戰這套交換邏輯。\n\n- 「Pay my tuition just to kiss me on this wet-ass pussy」（song-388）\n- 「If your ass a broke nigga, hell nah, I can't date ya / If your ass a rich nigga, I'ma fuck ya 'til you ain't one」（song-338）\n- 「We ain't even speakin' if the nigga ain't spendin'」（song-521）\n\n## 模式六：消費化的賦權——以財富與奢侈品界定自主與尊重\n\n「賦權」「獨立」「療癒」被窄化為消費能力與排場符號：快樂等同購物、尊重繫於金飾財力、姊妹情誼以餽贈名牌維繫。這種論述具階級排他性，將女性自主收編進市場邏輯，對不具此經濟條件的女性形成排除，也未觸及結構性的平等。\n\n- 「Whoever said money can't solve your problems / Must not have had enough money to solve 'em」（song-283）\n- 「What's that icy thang hangin' 'round my neck? / That's gold, show me some respect」（song-62）\n- 「Got me steppin' out that Jeep got Manolo's」（song-483）\n\n## 模式七：身體的部位化與商品化自我物化\n\n女性（含敘事者自身）被拆解為可檢視、評分、品嚐的部位與規格清單：胸、腰、臀的比例評比，以食物、飲品、貴金屬、玩偶等消費品自況，把「可被觀看、可被取用」當作價值來源。即使以第一人稱自信口吻發聲，仍複製將人化約為可估價客體的凝視邏輯。\n\n- 「Body crazy, curvy, wavy, big titties, lil' waist」（song-504）\n- 「It's giving hair, face, ass, titties (Woo, aye, ugh, yeah)」（song-838）\n- 「And once you get a taste (Woo) / You'll never be the same」、「This ain't that ordinary, this that 14 karat K」（song-681）\n\n## 模式八：自主宣言與男性凝視背書的矛盾結構\n\n許多歌曲開頭或表層是自主、獨立、女神式的宣告，但價值的最終認證權仍交還男性：力量由「你」觸發、神性須「讓你相信」、魅力以男人驚豔失神、慾求排隊為證。宣稱自主與引用男性凝視作證並存於同一文本，形成內在矛盾，使賦權敘事繞回男性裁判的迴圈。\n\n- 「Don't need permission / Made my decision to test my limits」對照「Somethin' 'bout you makes me feel like a dangerous woman」（song-36）\n- 「My one, when all is said and done / You'll believe God is a woman」（song-247）\n- 「Bet I made you look (I made you look)」（song-681）\n\n## 模式九：權力位置的翻轉而非拆解\n\n「女力」以宰制—服從關係的位置對調來呈現：把男性化約為征服名單上的戰利品、可試駕丟棄的商品、待馴的狗，或以絕對王權式威嚇號令他人。物化與支配的邏輯原封不動，只是換人坐上壓迫者的位置；被複製的是「以征服計分」「階序即力量」的父權權力模式本身。\n\n- 「You was just another nigga on the hit list」（song-13）\n- 「Took him for a test drive, left him on the lot」、「He thinkin' he the one, I got like four of him」（song-662）\n- 「Disobey me, then baby, it's off with your head」（song-523）\n\n## 模式十：冷硬無情等於力量的情感規訓\n\n「變強」被等同於情感封閉：不流淚、少付出、令對方依賴、心碎也維持完美儀容。這套敘事採納傳統陽剛支配腳本（壓抑情感、以他人依賴為權力來源）作為女性力量的樣板，並貶抑長期被性別化的依附與脆弱特質，把痛苦不得外露當成美德甚至加以審美化。\n\n- 「To feel a little more, and give a little less」、「Didn't they tell you that I was a savage?」（song-13）\n- 「My heart could be burning, but you won't see it on my face」（song-664）\n- 「Las mujeres ya no lloran, las mujeres facturan」（song-717）\n\n## 模式十一：照顧、隱忍與依附的浪漫化\n\n女性被定位為修復破碎男人、打理其生活、無條件原諒與等待的一方：明知受傷仍「一次又一次給機會」、以家務與情感勞動作為自我推銷的賣點、把「無法放手」呈現為愛的證明。這種付出被描繪成天性或美德，使不對等的情感勞動與依附式自我價值被自然化。\n\n- 「I put the blame on me for giving you chance after chance」（song-877）\n- 「Provide lovin' overlooked and unappreciated」、「you need a woman's touch in your place」（song-565）\n- 「Take a broken man right in my hands / And then put back all his parts」（song-439）\n\n## 模式十二：同意界線的模糊與施壓\n\n性互動的描寫反覆侵蝕明確同意的原則：將酒醉與性事直接綁定並浪漫化、對顯露遲疑者斷定「你其實想要」並叫對方閉嘴、把拒絕與調情姿態並置而稀釋「不」的訊息。無論施壓方性別為何，這套「拒絕或遲疑不算數」的話術邏輯都在文本中被常態化。\n\n- 「'Cause I like to fuck when I'm drunk / I like to suck when I'm drunk」（song-451）\n- 「Why you beatin' around the bush / Knowing, you want, all this」、「Shut it. save it. keep it. push」（song-375）\n- 「But I might let you try it off the Hennessy (Uh)」（song-554）\n\n## 模式十三：支配—臣服腳本的情慾化\n\n親密關係中的上下位階被編碼為情趣與愛的證明：以「daddy」「papa」稱呼伴侶、將被打被銬被管教描寫為愛與魅力、自居被男性擺弄的從屬角色並以身體傷痕為取悅的憑證。父權式的權力階序在此不是被批判的對象，而是被慾望化、浪漫化的腳本。\n\n- 「Love it when he hit and smack too」、「'Cause love is pain, but I need this shit (yeah)」（song-736）\n- 「Rad, but he spank me when I get bad」（song-674）\n- 「Daddy don't throw no curves (curves)」（song-496）\n\n## 模式十四：好女人／壞女人的分類與自我切割\n\n文本以性行為與關係位置對女性進行分類排序——好女孩／壞女孩、正宮／小三、「真」與「假」——敘事者常藉「我不是那種女人」的切割自抬身價，一面宣示性自主、一面以蕩婦羞辱與性活躍女性劃清界線。這套雙重標準將父權對女性性的評價體系內化為女性彼此定位的座標。\n\n- 「But that's not my MO, I'm not that type of bitch」（song-244）\n- 「Bust down wrist, not a bust down bitch」（song-345）\n- 「Even though I'm wifey you can hit it like a side chick / Don't need no side dick, no」（song-475）", "stop_reason": "end_turn", "usage": {"cache_creation": {"ephemeral_1h_input_tokens": 0, "ephemeral_5m_input_tokens": 0}, "cache_creation_input_tokens": 0, "cache_read_input_tokens": 0, "inference_geo": "global", "input_tokens": 60727, "output_tokens": 8519, "output_tokens_details": {"thinking_tokens": 4694}, "service_tier": "batch"}} diff --git a/runs/05-03-synthesize/run3/prompt.md b/runs/05-03-synthesize/run3/prompt.md new file mode 100644 index 0000000..e62fee3 --- /dev/null +++ b/runs/05-03-synthesize/run3/prompt.md @@ -0,0 +1,41 @@ +You are inducing the recurring patterns in how the problems +appear across the consolidated reading reports of many songs. + +Input: a JSON object keyed by song ID (such as "song-11"), +each value the consolidated reading report of that song; a +report of 「無」 means no problem was found for that song. + +{ + "song-11": "consolidated report ...", + "song-95": "無" +} + +The reports come from feminist-perspective readings of each +song's lyrics; every item carries verbatim quotes and a +convergence mark, and the trailing 「僅單獨提及」 line of a +report holds the scattered findings of a single reading -- +take them into account when inducing the patterns, but draw +the representative quotes from the main lists only. + +Task: induce the patterns -- the recurring forms in which +the problems appear and operate -- across the reports. + +Rules: + +- A pattern describes how a problem works in the lyrics: + what is coupled with what, who speaks, how the mechanism + runs. It is not a category for filing problems, and not + every problem needs to belong to one; a pattern may also + cut across several kinds of problems. +- Induce the patterns from the report contents; never + introduce a problem or knowledge absent from the reports; + the number of patterns follows the material, with nothing + preset. +- For every pattern: a name, a paragraph describing the form + and how it operates, and two or three representative + quotes, each with its song ID. +- Describe and induce only; never evaluate severity, never + make recommendations. + +Output: Traditional Chinese (Taiwan usage). One section per +pattern; output nothing else. diff --git a/runs/05-03-synthesize/run4/meta.json b/runs/05-03-synthesize/run4/meta.json new file mode 100644 index 0000000..a319c9d --- /dev/null +++ b/runs/05-03-synthesize/run4/meta.json @@ -0,0 +1,25 @@ +{ + "script_version": "run_llm.py 3.1.0", + "model": "claude-fable-5", + "temperature": null, + "thinking": null, + "max_tokens": 32000, + "prompt_path": "../prompts/05-03-synthesize.md", + "prompt_sha256": "90ed14f43153fd8184929e80315d660ca8516466bffa857e669bb2985829a365", + "input_path": "instance/llm-input-synthesize-mixed.jsonl", + "input_sha256": "9ac673b3f44f139028a9bab34dbbc0e1c325282450d126efabcb35d61b7c663a", + "item_count": 1, + "dry_run": false, + "started_at": "2026-08-15T17:19:43+08:00", + "batch": { + "batch_id": "msgbatch_01SNjTLiNPEba4LW2tcUAcTJ", + "submitted_at": "2026-08-15T17:19:43+08:00", + "ended_at": "2026-08-15T09:23:39.172965+00:00" + }, + "usage": { + "cache_creation_input_tokens": 0, + "cache_read_input_tokens": 0, + "input_tokens": 29958, + "output_tokens": 9793 + } +} diff --git a/runs/05-03-synthesize/run4/output.jsonl b/runs/05-03-synthesize/run4/output.jsonl new file mode 100644 index 0000000..169d6ce --- /dev/null +++ b/runs/05-03-synthesize/run4/output.jsonl @@ -0,0 +1 @@ +{"id": "synthesis", "text": "## 一、貶抑稱謂的常態化：以「bitch」「hoe」作為女性的預設稱呼\n\n跨越大量歌曲，無論男聲或女聲，皆以「bitch」「hoe」「trick」「chicks」等貶抑詞彙作為指稱女性的日常用語——用於通稱、問候、稱讚甚至自況，使侮辱性標籤脫離罵人的語境而成為中性化的預設稱謂。其運作方式是把「女性」本身變成貶義詞：即使語境看似親暱或讚美，女性仍須先被安上侮辱性前提才能被談論，整體污名化因反覆流通而被自然化。\n\n- 「L-let these-l-let these b-b-bitches know, nigga」（song-219）\n- 「What it is hoe? What's up?」（song-699）\n- 「Bitch, I'm drippin', ho, you trippin'」（song-246）\n\n## 二、女性被化約為身體部位與性功能\n\n女性在歌詞中被拆解為臀、胸、性器官等零件，或以「東西」、動物、車輛、食物等非人意象指稱，其存在價值被限縮於性功能與可供觀賞的部位。此一機制通常由男性敘事者的凝視驅動：讚美收束於身體，關係中「唯一真實」的只剩身體部位，人格主體被整個抹除。\n\n- 「Ass and titties, titties / Only thing that stuck with, with me」（song-173）\n- 「Real thick vagina, smuggle bricks to China」（song-148）\n- 「NBA playoffs that ass, it's a bubble」（song-527）\n\n## 三、性與親密關係的金錢交易化\n\n性關係被反覆框定為明碼標價的交易：性同意可用金錢購買、身體可與名牌精品比價、性服務以學費、紅底鞋、帳戶存款作為對價，「跟我混就有錢拿」成為關係的基本語法。此模式雙向運作——男聲以財力宣示對女性性的購買權，女聲段落亦常以「以性換取物質」作為誇耀資本，使親密關係整體被收編進商品邏輯。\n\n- 「She said pay for the pussy, pay for the pussy (pay), wait for the pussy, wait for the pussy」（song-148）\n- 「3 coins, that'll pay ya whole semester / But you gotta ride it better than a Tesla」（song-248）\n- 「Himalayan pussy worth way more than a Kelly」（song-778）\n\n## 四、所有格宣示與男性間較勁的戰利品邏輯\n\n以「my bitch」「your bitch」「your women」等所有格語式將女性標記為男性財產，與名車、鑽石並列為地位象徵；「搶走你的女人」則成為男性之間互相羞辱、炫耀的籌碼，女性的反應只用來證明說話者的魅力並貶低對手。女性在此結構中沒有立場與聲音，僅作為可奪取、可交換的戰利品在男性之間流通。\n\n- 「Who took your bitch out to party? (Cardi) / I took your bitch at the party」（song-246）\n- 「Swapping our cars with my bitch / I bought her the Lambo she bought me the Wraith」（song-355）\n- 「Tu jeva me vio y se fue de pecho como Jimmy Snuka」（song-196）\n\n## 五、女性作為可計數、可挑選、可丟棄的可替換品\n\n女性以複數、清單、數量的形式出現：按國籍羅列比較、以童謠點選遊戲挑選、以一夜情次數與「拉來的女孩數」計分，連名字都可以亂猜或不記得。其運作在於強調數量而抹除個體——任何一個女性都可被下一個取代，去留取決於是否提供性服務，拒絕即遭驅逐或丟棄。\n\n- 「Eeny, meeny, miny, moe, I catch a hoe right by her toe」（song-219）\n- 「Man, this year I had three hundred one night stands」（song-218）\n- 「Keisha? (Kei), Jasmine? (Jas), Kiera? Megan? (Go) / Lisa? Ashley? (Ashley), Sierra? Sarah?」（song-527）\n\n## 六、性同意的消解與性資格感\n\n多首歌以不同手法架空女性的「不」：下藥後性交並引以為傲、性行為中擅自取下保險套、宣稱「嘴上說不要其實想要」而比女性更懂她自己、以言語安撫壓制反抗、被封鎖後仍持續糾纏、把性當成女方「欠給」的東西而對拒絕表現質問。共同機制是男性慾望被預設為當然權利，女性的意願在文本中缺席、被改寫或被覆蓋。\n\n- 「Bardi, put that lil' bitch on molly」（song-246）\n- 「Cuenta que no quiere pero me tiene espionaje」（song-327）\n- 「Like I don't block you and you still try to reach me (Still try to reach me)」（song-487）\n\n## 七、命令句驅使女性進行性化的身體表演\n\n由男性（或男性視角）發出的祈使句——扭、倒退、彎腰、搖擺——把女性定位為聽令演出、供人觀賞取樂甚至可在男人之間「共享」的表演者。表演常與獲利、拍攝上傳、助興享樂綁定，女性在這些段落中沒有回應的聲音，只有被指揮的身體。\n\n- 「I tell all my hoes: Rake it up / Break it down, back it up」（song-148）\n- 「Bend that ass over (Baow), let that coochie breathe (Yeah) / Shake that ass, bitch, hands on your knees」（song-759）\n- 「Come on, back it up for me / Come on / Ooh, twerk it on me slowly」（song-308）\n\n## 八、女聲的自我賦權以貶抑其他女性為代價\n\n眾多女性聲部展現金錢、性或事業上的強勢姿態，但其「賦權」的修辭建構在踩低同性之上：沿用「bitches」「hoes」「thots」等厭女詞彙、進行蕩婦羞辱、身體羞辱與階級羞辱，把其他女性貶為虛偽、嫉妒、低價值的群體以自我抬升。此模式顯示厭女語言被內化為女性自我證明的工具，賦權表述反而使貶抑語彙持續流通。\n\n- 「How y'all wife'in these thots? You don't get wins for that」（song-177）\n- 「Your pussy basura (Basura) / My pussy horchata (Oh)」（song-308）\n- 「Bitches is mad, bitches is trash (Errr)」（song-355）\n\n## 九、以男性為軸心的女女敵對競爭\n\n女性之間的關係被框定為圍繞男性的爭奪戰：「看好你的男人」、「搶走妳的男人」成為勝負宣言，男伴被描述為須藏好以防被奪的財產，女性則被提醒外面有大量競爭者、必須證明勝過其他女人才能留住男人。此機制把女性的價值與勝負綁定於男性的青睞，預設女性互為情敵而非同盟。\n\n- 「Uh, yo, watch your man / Then you should watch your mouth」（song-221）\n- 「Cardi took your man, you upset, uh」（song-246）\n- 「And you're the kind of guy the ladies want / (And there's a lot of cool chicks out there)」（song-314）\n\n## 十、「陰性＝低劣」的象徵階序\n\n「像女人」被當作對男性的終極侮辱：以月經、八卦、呻吟、示弱等被標記為女性專屬的特質貶低對手；反之，權力的表達則借用「king」、皮條客、陽具意象等陽性符碼，即使由女性說出，仍以男性符號為力量的度量衡。兩者合構成同一套階序——陰性特質可恥、陽性特質為尊。\n\n- 「They should bleed once a month 'cause that's what these bitches do」（song-148）\n- 「Moaning like a bitch when he hit this pussy」（song-527）\n- 「I'm a savage, I'm an asshole, I'm a king」（song-160）\n\n## 十一、女性犧牲、忍耐與自我消耗的神聖化\n\n女性的付出被推向極致並加以歌頌：母親的人生化約為兒子的墊腳石、女方替男方承擔法律與財務風險被美化為「公平交換」、明知受傷仍以藥物麻痺自己留在有害關係被包裝為愛。共同機制是以「愛」「奉獻」「真心」之名，將自我抹除與依附有害關係浪漫化，女性作為獨立個體的需求就此消失。\n\n- 「I'm gonna give you all of my love / Nobody matters like you」（song-141）\n- 「I put that all on my name / Yeah, that's an even exchange」（song-699）\n- 「Gimme another Valium / Give me another hour or two / Hour with you」（song-173）\n\n## 十二、男性免責與女性承擔善後\n\n男性的失責被輕描淡寫或完全歸零：缺席父親以一句戲謔帶過、酗酒失格的男方理所當然由女方容忍駕車善後、男性是否出軌甚至被歸因於女方性表現是否充分。運作方式是把育兒、經濟、情緒勞動與道德責任單向轉嫁給女性，男性則保有離開與犯錯的自由。\n\n- 「Mmm More when paps disappear / In a wrong bar can't find him nowhere」（song-141）\n- 「Maybe you've taken my shit for the last time」（song-199）\n- 「I make him never think about cheatin'」（song-704）\n\n## 十三、女性失語與男性代言、救世主敘事\n\n女性的處境由男性（或旁觀者）之口界定：受暴女性不被容許陳述與參與自身的「正義」，由男性代行暴力拯救；單親母親只透過他人的評價與指令被呈現；男性自居性與人生的「導師」，宣稱改變、教育、調教女方。共同形式是女性在攸關自身的敘事中缺席，其角色被收編為襯托男性英雄氣概或施恩姿態的素材。\n\n- 「\\\"Wait in the truck / Just wait in the truck\\\"」（song-682）\n- 「Single mama you doing out there?」（song-141）\n- 「We was fuckin' night after night, I'll change your life」（song-759）\n\n## 十四、女性情緒的病理化與噤聲規訓\n\n女性的憤怒、悲傷與抗議被貼上「瘋狂」「歇斯底里」「無理取鬧」的標籤，或被命令收起眼淚、閉嘴、安分、讓路；女聲段落亦常自我內化此框架，以道歉式口吻承認自己「psycho」「crazy」。機制在於把女性的情緒表達本身問題化，使提出質疑者噤聲，而男方無須檢視自身行為。\n\n- 「I know that I went psycho on the phone」（song-314）\n- 「I don't need a ticket to your shit show / Knock yourself out and hit a new low」（song-787）\n- 「Bitch, watch your mouth (Watch it) / Bitch, stay in your place (Place) / Bitch, get out the way (Move)」（song-355）\n\n## 十五、女性自我價值錨定於男性凝視與慾望\n\n即使在女性主導的段落中，自我讚頌的判準仍是「他喜歡」「他需要」「成為他的幻想」：身體價值由男性的目光、性反應與挑選來確立，力量與選擇權建立在「性感、可被慾望」之上。此形式使表面的自主表述仍以男性慾望為座標，賦權被限定在迎合凝視的範圍內。\n\n- 「He like the Doja with the cat, yeah」、「He said the body unbelievable」（song-444）\n- 「Seven different angles, I can be your fantasy」（song-704）\n- 「Got a whole lot of options 'cause you know a bitch poppin' / I'm a hot girl, so you know ain't shit stoppin'」（song-359）\n\n## 十六、聖女／蕩婦二分與性的雙重標準\n\n女性依性行為被劃入互斥的階序：可上床者即不配被娶、「大學女生」與性自主被預設為反差、「好女孩」成為品行規訓標籤，而女性的性經歷數量被當作攻擊其價值的武器——即使攻擊者自身同樣性自主。機制是男性（或敘事者）握有分類與評級權，女性的性成為決定其可敬程度的單一判準。\n\n- 「All I know is that I just can't wife that」（song-219）\n- 「Look, college girl, but a freak on the weekend」（song-359）\n- 「Mistakenly, nobody been in they bag, but how many bodies done been in her bed?」（song-815）", "stop_reason": "end_turn", "usage": {"cache_creation": {"ephemeral_1h_input_tokens": 0, "ephemeral_5m_input_tokens": 0}, "cache_creation_input_tokens": 0, "cache_read_input_tokens": 0, "inference_geo": "global", "input_tokens": 29958, "output_tokens": 9793, "output_tokens_details": {"thinking_tokens": 5388}, "service_tier": "batch"}} diff --git a/runs/05-03-synthesize/run4/prompt.md b/runs/05-03-synthesize/run4/prompt.md new file mode 100644 index 0000000..e62fee3 --- /dev/null +++ b/runs/05-03-synthesize/run4/prompt.md @@ -0,0 +1,41 @@ +You are inducing the recurring patterns in how the problems +appear across the consolidated reading reports of many songs. + +Input: a JSON object keyed by song ID (such as "song-11"), +each value the consolidated reading report of that song; a +report of 「無」 means no problem was found for that song. + +{ + "song-11": "consolidated report ...", + "song-95": "無" +} + +The reports come from feminist-perspective readings of each +song's lyrics; every item carries verbatim quotes and a +convergence mark, and the trailing 「僅單獨提及」 line of a +report holds the scattered findings of a single reading -- +take them into account when inducing the patterns, but draw +the representative quotes from the main lists only. + +Task: induce the patterns -- the recurring forms in which +the problems appear and operate -- across the reports. + +Rules: + +- A pattern describes how a problem works in the lyrics: + what is coupled with what, who speaks, how the mechanism + runs. It is not a category for filing problems, and not + every problem needs to belong to one; a pattern may also + cut across several kinds of problems. +- Induce the patterns from the report contents; never + introduce a problem or knowledge absent from the reports; + the number of patterns follows the material, with nothing + preset. +- For every pattern: a name, a paragraph describing the form + and how it operates, and two or three representative + quotes, each with its song ID. +- Describe and induce only; never evaluate severity, never + make recommendations. + +Output: Traditional Chinese (Taiwan usage). One section per +pattern; output nothing else.