Renumber the pipeline substeps to match the paper (5-1 becomes 5a)

prompts/ and runs/ move by git mv; zero padding dropped; the
arbitration and LLM-merge rows in the cost ledger carry no new
name -- their step column reads 已廢棄 with the original name
kept in a new last column.  Archived meta.json files and past
decision-log entries keep the names they were written with.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>

runs/5c-synthesize/run1/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.jsonl",
+  "input_sha256": "2beb94a3643a6fe63e86664f0936fe411f180fed0cd520fb16571dd2f9a9408e",
+  "item_count": 1,
+  "dry_run": false,
+  "started_at": "2026-08-15T14:43:50+08:00",
+  "batch": {
+    "batch_id": "msgbatch_01XbNQb1SFrUxhk2ZWF7epPA",
+    "submitted_at": "2026-08-15T14:43:53+08:00",
+    "ended_at": "2026-08-15T06:46:50.472954+00:00"
+  },
+  "usage": {
+    "cache_creation_input_tokens": 0,
+    "cache_read_input_tokens": 0,
+    "input_tokens": 103888,
+    "output_tokens": 9982
+  }
+}

runs/5c-synthesize/run1/output.jsonl

@@ -0,0 +1 @@
+{"id": "synthesis", "text": "## 模式一：厭女語彙的常態化流通與自我命名\n\n無論敘事者性別，歌詞大量以「bitch」「ho / hoes」「whores」等貶抑女性的字眼作為對女性的預設稱呼，甚至作為女性敘事者的自我命名與力量宣示。即便帶有挪用翻轉的意圖，文本多未提供翻轉脈絡，且同一詞彙常同時用於自稱與攻擊其他女性，使貶稱一面被「賦權」收編、一面持續發揮羞辱功能，讓女性的強悍仍須借用根源於貶低女性的語言來表述。\n\n- song-143：「Payback is a bad bitch / And baby, I'm the baddest」\n- song-122：「I don't bother with these hoes, don't let these hoes bother me」\n- song-388：「There's some whores in this house / There's some whores in this house」\n\n## 模式二：陰性即侮辱、陽性即權力的語言階序\n\n罵詞與權力語彙呈現一致的性別階序：以「pussy」「像個 bitch」「娘娘腔」、月經等陰性符碼標記軟弱可恥，以「king」「big dick」、陽具意象與「不夠男人」作為力量的度量與終極羞辱。女性敘事者宣示強勢時亦挪用陽具中心的語言，等於默認「力量＝陽剛、陰柔＝低劣」的框架而非翻轉它。\n\n- song-122：「If you a pussy, you get popped, you a groupie, you a opp」\n- song-148：「They should bleed once a month 'cause that's what these bitches do」\n- song-523：「And you might think I'm weak without a sword / But if I had one, it'd be bigger than yours」\n\n## 模式三：女女敵對——以其他女性為敵人、代罪者與踏腳石\n\n問題的矛頭反覆從有過錯的男性偏移到其他女性身上：出軌時怪罪「第三者」、以貶低對方新歡或前任抬高自己、以外貌與身體羞辱其他女性、以「我不像其他女孩」自我切割。自我賦權大量建立在踩低同性、令其他女性痛苦或恐懼之上，將女性間關係固定為嫉妒、背刺與位階競爭，而非連帶。\n\n- song-71：「He only want me when I'm not there / He better call Becky with the good hair」\n- song-521：「My chain ain't hittin' if a bitch ain't hurtin'」\n- song-78：「I know the other girls wanna wear expensive things / Like diamond rings」\n\n## 模式四：佔有語法——男人作為戰利品、女人作為財產\n\n以所有格「my bitch / your bitch / your women」把女性標記為男性的所有物，與名車、鑽石並列展示；反向亦然，「搶走妳的男人／奪走你的女人」被當作權力展演與羞辱武器，使人（多為女性）成為可奪取、交換、丟棄的戰利品，並以此進行男性之間或女性之間的較勁。\n\n- song-355：「Swapping our cars with my bitch / I bought her the Lambo she bought me the Wraith」\n- song-246：「Who took your bitch out to party? (Cardi) / I took your bitch at the party」\n- song-122：「I need to let all these hoes know that none of their niggas is safe」\n\n## 模式五：性—金錢的交易腳本\n\n親密關係被反覆框定為對價交換：男方以金錢、名牌、學費、排場換取性；女方以性、身體與陪伴換取資源，甚至以對方財力作為擇偶門檻。此腳本同時出現在男聲的購買敘事與女聲的「主動議價」敘事中——即便以女性掌控的姿態呈現，權力來源仍繫於男性錢包，交易框架本身未被挑戰。\n\n- song-148：「She said pay for the pussy, pay for the pussy (pay), wait for the pussy, wait for the pussy」\n- song-388：「Pay my tuition just to kiss me on this wet-ass pussy」\n- song-338：「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」\n\n## 模式六：身體部位化與可替換的性對象名單\n\n女性被化約為臀、胸、性器等可供凝視、評分、取用的零件，甚至以「it」「thing」代稱；同時被放進可計數、可任意挑選替換的集合——征服名單、隨機點選、連名字都無需記得。個體性被抹除，存在價值收束於身體與性功能。\n\n- song-173：「Ass and titties, titties / Only thing that stuck with, with me」\n- song-527：「Keisha? (Kei), Jasmine? (Jas), Kiera? Megan? (Go) / Lisa? Ashley? (Ashley), Sierra? Sarah?」\n- song-218：「Man, this year I had three hundred one night stands」\n\n## 模式七：同意的侵蝕——拒絕被改寫、酒藥情境與單方決定\n\n女性的「不」被系統性地掏空：明確拒絕被詮釋為欲擒故縱的測試、遲疑被斷定為「其實想要」；酒精與藥物情境下的性被常態化甚至當作炫耀資本；性行為中的關鍵決定（如取下保險套）由男方單方面做成，女性意願在文本中完全缺席。\n\n- song-427：「Ask you to dance, you say \"No\" just to see how far I'll go」\n- song-327：「Cuenta que no quiere pero me tiene espionaje」\n- song-246：「Fucked that bitch on molly」、「I pulledLine truncated

runs/5c-synthesize/run1/prompt.md

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+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.