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/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
+  }
+}

runs/5c-synthesize/run2/output.jsonl

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+{"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- Line truncated

runs/5c-synthesize/run2/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.