Update README.md

README.md

@@ -33,33 +33,12 @@ In its current version, *Brahe* may generate the following annotations.
 * Time setting: historical period where the action seems to occur such as the 1960s, the Renaissance, the Victorian period…
 * Diegetic time: very approximative number of minutes/hours/days that have unfolded between the beginning and the end of the text (5 minutes, 35 minutes, 2 hours, 3 days).
 * Absolute time: a precise date where the action occurs, such as January 15, 1845, 23rd century…
-* Meta-text: to specify if the text is not part of the actual novel such as table of content, legal notice, book cover. None otherwise.
+* Meta-text: to specify if the text is not part of the actual novel such as table of content, legal notice, book cover.
 
 The annotations are not generated systematically but only whenever the model is confident enough.
 
 ## Examples
 
-With the incipit of Proust's *Swann's Way*:
-
-> Combray at a distance, from a twenty-mile radius, as we used to see it from the railway when we arrived there every year in Holy Week, was no more than a church epitomising the town, representing it, speaking of it and for it to the horizon, and as one drew near, gathering close about its long, dark cloak, sheltering from the wind, on the open plain, as a shepherd gathers his sheep, the woolly grey backs of its flocking houses, which a fragment of its mediaeval ramparts enclosed, here and there, in an outline as scrupulously circular as that of a little town in a primitive painting. To live in, Combray was a trifle depressing, like its streets, whose houses, built of the blackened stone of the country, fronted with outside steps, capped with gables which projected long shadows downwards, were so dark that one had, as soon as the sun began to go down, to draw back the curtains in the sitting-room windows; streets with the solemn names of Saints, not a few of whom figured in the history of the early lords of Combray, such as the Rue Saint-Hilaire, the Rue Saint-Jacques, in which my aunt's house stood, the Rue Sainte-Hildegarde, which ran past her railings, and the Rue du Saint-Esprit, on to which the little garden gate opened; and these Combray streets exist in so remote a quarter of my memory, painted in colours so different from those in which the world is decked for me to-day, that in fact one and all of them, and the church which towered above them in the Square, seem to me now more unsubstantial than the projections of my magic-lantern; while at times I feel that to be able to cross the Rue Saint-Hilaire again, to engage a room in the Rue de l'Oiseau, in the old hostelry of the Oiseau Flesché, from whose windows in the pavement used to rise a smell of cooking which rises still in my mind, now and then, in the same warm gusts of comfort, would be to secure a contact with the unseen world more marvellously supernatural than it would be to make Golo's acquaintance and to chat with Geneviève de Brabant.*
-
-Output of Brahe:
-
-> Summary: The narrator reflects on their childhood memories of Combray, a town with dark and depressing streets.<br>
-> Trope: The town as a character<br>
-> Narrative arc: Reflective<br>
-> Enunciation: First-person narrative<br>
-> Tone: Nostalgic<br>
-> Genre: Memoir<br>
-> Intertextuality: Historical accounts of Combray<br>
-> Speech standard: Poetic<br>
-> Literary form: Description of a place<br>
-> Literary movement: Symbolism<br>
-> Active character: The narrator, the aunt<br>
-> Time setting: Childhood<br>
-> Absolute place: Combray<br>
-> Fuzzy place: Combray
-
 With the incipit of Henry James' *The Ambassadors*:
 
 >*Strether\'s first question, when he reached the hotel, was about his friend; yet on his learning that Waymarsh was apparently not to arrive till evening he was not wholly disconcerted. A telegram from him bespeaking a room "only if not noisy," with the answer paid, was produced for the inquirer at the office, so that the understanding that they should meet at Chester rather than at Liverpool remained to that extent sound. The same secret principle, however, that had prompted Strether not absolutely to desire Waymarsh\'s presence at the dock, that had led him thus to postpone for a few hours his enjoyment of it, now operated to make him feel that he could still wait without disappointment. They would dine together at the worst, and, with all respect to dear old Waymarsh—if not even, for that matter, to himself—there was little fear that in the sequel they should not see enough of each other. The principle I have just mentioned as operating had been, with the most newly-disembarked of the two men, wholly instinctive—the fruit of a sharp sense that, delightful as it would be to find himself looking, after so much separation, into his comrade\'s face, his business would be a trifle bungled should he simply arrange that this countenance should present itself to the nearing steamer as the first "note," for him, of Europe. Mixed with everything was the apprehension, already, on Strether\'s part, that he would, at best, throughout, prove the note of Europe in quite a sufficient degree.*
@@ -82,3 +61,24 @@ Output of Brahe:
 > Diegetic time: A few hours<br>
 > Absolute place: The hotel<br>
 > Fuzzy place: The hotel
+
+With the incipit of Proust's *Swann's Way*:
+
+> Combray at a distance, from a twenty-mile radius, as we used to see it from the railway when we arrived there every year in Holy Week, was no more than a church epitomising the town, representing it, speaking of it and for it to the horizon, and as one drew near, gathering close about its long, dark cloak, sheltering from the wind, on the open plain, as a shepherd gathers his sheep, the woolly grey backs of its flocking houses, which a fragment of its mediaeval ramparts enclosed, here and there, in an outline as scrupulously circular as that of a little town in a primitive painting. To live in, Combray was a trifle depressing, like its streets, whose houses, built of the blackened stone of the country, fronted with outside steps, capped with gables which projected long shadows downwards, were so dark that one had, as soon as the sun began to go down, to draw back the curtains in the sitting-room windows; streets with the solemn names of Saints, not a few of whom figured in the history of the early lords of Combray, such as the Rue Saint-Hilaire, the Rue Saint-Jacques, in which my aunt's house stood, the Rue Sainte-Hildegarde, which ran past her railings, and the Rue du Saint-Esprit, on to which the little garden gate opened; and these Combray streets exist in so remote a quarter of my memory, painted in colours so different from those in which the world is decked for me to-day, that in fact one and all of them, and the church which towered above them in the Square, seem to me now more unsubstantial than the projections of my magic-lantern; while at times I feel that to be able to cross the Rue Saint-Hilaire again, to engage a room in the Rue de l'Oiseau, in the old hostelry of the Oiseau Flesché, from whose windows in the pavement used to rise a smell of cooking which rises still in my mind, now and then, in the same warm gusts of comfort, would be to secure a contact with the unseen world more marvellously supernatural than it would be to make Golo's acquaintance and to chat with Geneviève de Brabant.*
+
+Output of Brahe:
+
+> Summary: The narrator reflects on their childhood memories of Combray, a town with dark and depressing streets.<br>
+> Trope: The town as a character<br>
+> Narrative arc: Reflective<br>
+> Enunciation: First-person narrative<br>
+> Tone: Nostalgic<br>
+> Genre: Memoir<br>
+> Intertextuality: Historical accounts of Combray<br>
+> Speech standard: Poetic<br>
+> Literary form: Description of a place<br>
+> Literary movement: Symbolism<br>
+> Active character: The narrator, the aunt<br>
+> Time setting: Childhood<br>
+> Absolute place: Combray<br>
+> Fuzzy place: Combray