Academic literature on the topic 'Suspence- Fiction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Suspence- Fiction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Suspence- Fiction"
1
Randall, Marilyn. "La disparition élocutoire du romancier." Études 31, no. 3 (July 10, 2006): 87–104. http://dx.doi.org/10.7202/013241ar.
Full textAbstract:
Résumé Nous définissons le roman de la lecture à partir d’un nombre représentatif de textes qui partagent la structure du « roman dans le roman », créant une problématique de la lecture qui ébranle à la fois la logique du monde fictif et celle mobilisée par le lecteur. Une variante importante sera qualifiée de roman fictif, soit un récit qui confond de façon irrémédiable les niveaux « fictif » et « réel » à l’intérieur de la fiction par un retournement de la fin qui détruit la logique des deux ontologies établies, déstabilisant ainsi la lecture. Dans ces fictions « fictives » (Le double suspect de Madeleine Monette, Le sexe des étoiles de Monique Proulx, La vie en prose de Yollande Villemaire, de même que Prochain épisode et Trou de mémoire d’Hubert Aquin), c’est le rôle de l’écrivain qui se trouve miné, de façon à effectuer une « mort de l’auteur » à l’intérieur de la fiction pour que puisse naître le lecteur.
2
Miksanek, Tony. "Suspense Fiction." JAMA 296, no. 14 (October 11, 2006): 1781. http://dx.doi.org/10.1001/jama.296.14.1782.
Full text
3
Demmerling, Christoph. "Von den Lesewelten zur Lebenswelt. Überlegungen zu der Frage, warum uns fiktionale Literatur berührt." Journal of Literary Theory 12, no. 2 (September 3, 2018): 260–78. http://dx.doi.org/10.1515/jlt-2018-0015.
Full textAbstract:
Abstract The following article argues that fictional texts can be distinguished from non-fictional texts in a prototypical way, even if the concept of the fictional cannot be defined in classical terms. In order to be able to characterize fictional texts, semantic, pragmatic, and reader-conditioned factors have to be taken into account. With reference to Frege, Searle, and Gabriel, the article recalls some proposals for how we might define fictional speech. Underscored in particular is the role of reception for the classification of a text as fictional. I make the case, from a philosophical perspective, for the view that fictional texts represent worlds that do not exist even though these worlds obviously can, and de facto do, contain many elements that are familiar to us from our world. I call these worlds reading worlds and explain the relationship between reading worlds and the life world of readers. This will help support the argument that the encounter with fictional literature can invoke real feelings and that such feelings are by no means irrational, as some defenders of the paradox of fiction would like us to believe. It is the exemplary character of fictional texts that enables us to make connections between the reading worlds and the life world. First and foremost, the article discusses the question of what it is that readers’ feelings are in fact related to. The widespread view that these feelings are primarily related to the characters or events represented in a text proves too simple and needs to be amended. Whoever is sad because of the fate of a fictive character imagines how he or she would fare if in a similar situation. He or she would feel sad as it relates to his or her own situation. And it is this feeling on behalf of one’s self that is the presupposition of sympathy for a fictive character. While reading, the feelings related to fictive characters and content are intertwined with the feelings related to one’s own personal concerns. The feelings one has on his or her own behalf belong to the feelings related to fictive characters; the former are the presupposition of the latter. If we look at the matter in this way, a new perspective opens up on the paradox of fiction. Generally speaking, the discussion surrounding the paradox of fiction is really about readers’ feelings as they relate to fictive persons or content. The question is then how it is possible to have them, since fictive persons and situations do not exist. If, however, the emotional relation to fictive characters and situations is conceived of as mediated by the feelings one has on one’s own behalf, the paradox loses its confusing effect since the imputation of existence no longer plays a central role. Instead, the conjecture that the events in a fictional story could have happened in one’s own life is important. The reader imagines that a story had or could have happened to him or herself. Readers are therefore often moved by a fictive event because they relate what happened in a story to themselves. They have understood the literary event as something that is humanly relevant in a general sense, and they see it as exemplary for human life as such. This is the decisive factor which gives rise to a connection between fiction and reality. The emotional relation to fictive characters happens on the basis of emotions that we would have for our own sake were we confronted with an occurrence like the one being narrated. What happens to the characters in a fictional text could also happen to readers. This is enough to stimulate corresponding feelings. We neither have to assume the existence of fictive characters nor do we have to suspend our knowledge about the fictive character of events or take part in a game of make-believe. But we do have to be able to regard the events in a fictional text as exemplary for human life. The representation of an occurrence in a novel exhibits a number of commonalities with the representation of something that could happen in the future. Consciousness of the future would seem to be a presupposition for developing feelings for something that is only represented. This requires the power of imagination. One has to be able to imagine what is happening to the characters involved in the occurrence being narrated in a fictional text, ›empathize‹ with them, and ultimately one has to be able to imagine that he or she could also be entangled in the same event and what it would be like. Without the use of these skills, it would remain a mystery how reading a fictional text can lead to feelings and how fictive occurrences can be related to reality. The fate of Anna Karenina can move us, we can sympathize with her, because reading the novel confronts us with possibilities that could affect our own lives. The imagination of such possibilities stimulates feelings that are related to us and to our lives. On that basis, we can participate in the fate of fictive characters without having to imagine that they really exist.
4
Riese, Katrin, Mareike Bayer, Gerhard Lauer, and Annekathrin Schacht. "In the eye of the recipient." Scientific Study of Literature 4, no. 2 (December 31, 2014): 211–32. http://dx.doi.org/10.1075/ssol.4.2.05rie.
Full textAbstract:
Plot suspense is one of the most important components of narrative fiction that motivate recipients to follow fictional characters through their worlds. The present study investigates the dynamic development of narrative suspense in excerpts of literary classics from the 19th century in a multi-methodological approach. For two texts, differing in suspense as judged by a large independent sample, we collected (a) data from questionnaires, indicating different affective and cognitive dimensions of receptive engagement, (b) continuous ratings of suspense during text reception from both experts and lay recipients, and (c) registration of pupil diameter as a physiological indicator of changes in emotional arousal and attention during reception. Data analyses confirmed differences between the two texts at different dimensions of receptive engagement and, importantly, revealed significant correlations of pupil diameter and the course of suspense over time. Our findings demonstrate that changes of the pupil diameter provide a reliable ‘online’ indicator of suspense.
5
Shindo, Reiko. "Resistance beyond sovereign politics: Petty sovereigns’ disappearance into the world of fiction in post-Fukushima Japan." Security Dialogue 49, no. 3 (January 24, 2018): 183–99. http://dx.doi.org/10.1177/0967010617751994.
Full textAbstract:
What happens to sovereign power when petty sovereigns refuse to exploit discretionary power to suspend the rule of law, the very power that is delegated to them and makes them who they are? How might such a refusal contribute to a better understanding of the relationship between resistance and sovereign power? This article revisits Judith Butler’s notion of petty sovereigns to explore the possibility that petty sovereigns establish a distinctive relationship with law. This article draws on a case involving one nameless petty sovereign and his published writings. He writes novels to expose how law is used by some officials to realize a particular policy goal with regards to nuclear energy. His novels blur the line between fiction and non-fiction: it contains classified information only available to bureaucrats, discusses actual energy policies and related laws, and introduces fictional characters who resemble non-fictional characters. I argue that this example suggests that petty sovereigns are not necessarily tied to the node between governmentality and sovereignty. Shifting between the worlds of fiction and non-fiction, petty sovereigns slip away from sovereign power, which controls the subject-making process, and quietly resist sovereign politics through the contingency of subjectivity.
6
Chiri Jaime, Sandro. "La intriga en los relatos de Ricardo Palma." Aula Palma, no. 18 (December 31, 2019): 297–313. http://dx.doi.org/10.31381/ap.v0i18.2613.
Full textAbstract:
ResumenLa intriga participa como elemento neurálgico en las tradiciones que Ricardo Palma escribe durante más de medio siglo; vale decir, opera como eje articulador del gran mosaico histórico-ficcional que el escritorperuano se autoimpone como reto artístico personal y como legado a la colectividad de lectores. El presente trabajo rastrea los aportes de Palma en estos temas del arte narrativo.Palabras clave: relato, intriga, Ricardo Palma, tensión, suspense, personajes, ficción.
AbstractThe intrigue plays a crucial part in the Traditions that Ricardo Palma writes for over half a century. It functions as an articulating axis of the great historical fictional mosaic that the 19th-century Peruvian writer imposes on himself as a personal and artistic challenge as well as a legacy for his readers. The following work tracks Palma’s contributions in these areas of the art of storytelling.Keywords: story, intrigue, Ricardo Palma, tension, suspense, characters, fiction.
7
Frenkel, Ronit. "Pleasure as genre: popular fiction, South African chick-lit and Nthikeng Mohlele's Pleasure." Feminist Theory 20, no. 2 (February 21, 2019): 171–84. http://dx.doi.org/10.1177/1464700119831537.
Full textAbstract:
The success of popular women's fiction requires a mode of analysis that is able to reveal the patterns across this category in order to better understand the appeal of these books. Popular fiction, like chick-lit, can be contradictorily framed as simultaneously constituting one, as well as many genres, if a genre is the codification of discursive properties. It may consist of romances, thrillers, romantic suspense and so forth in terms of its discursive properties, but popular women's fiction will also have a pattern of similarity that cuts across these forms – that similarity, I will suggest, lies in the idea of pleasure as a genre of affect that ties various popular fictions together, thereby acting as a type of imperial genre. Pleasure is so ubiquitous and so diverse across the multiple forms that constitute popular women's fiction that I argue it has become a genre in itself. This is, however, not a genre that limits itself to one particular stylistic form, but rather, as a dynamic social construct, it has become a genre of affect that invokes feelings of pleasure. Nthikeng Mohlele's most recent novel, Pleasure, exemplifies the applicability and plasticity of the concept of pleasure, allowing me to examine this work as a type of fictionalised theory which I then apply to South African chick-lit texts: the Trinity series by Fiona Snyckers and Happiness Is a Four-Letter Word by Cynthia Jele. Mohiele's expansive theorisation of pleasure is inherently local in that it is depicted at the level of experience and imagination; yet it is simultaneously macro and global in the connections made to deeply political circuits of identity-based oppressions and structural inequalities. Mohlele reveals the mobility of pleasure as a genre that offers an opportunity to think through the circuits that connect popular fiction through the lens of African literature.
8
Charvát, Radim. "Goods in Transit and Intellectual Property Under the EU Law and Caselaw of the Court of Justice." International and Comparative Law Review 14, no. 2 (December 1, 2014): 93–104. http://dx.doi.org/10.1515/iclr-2016-0054.
Full textAbstract:
Abstract The paper addresses the issue whether customs authorities of Member States are entitled to suspend or detain goods in transit (i.e., products directing from one non- Member State to another non-Member State through the EU) and the evolving case-law of the Court of Justice related to this matter. Prior to the judgment in Philips and Nokia cases, a so-called manufacturing fiction theory was applied by some Member State courts (especially Dutch courts). According to this theory, goods suspended or detained by customs authorities within the EU were considered to be manufactured in the Member State where the custom action took place. In the Philips and Nokia judgments, the Court of Justice rejected this manufacturing fiction theory. But the proposal for amendment to the Regulation on Community trade mark and the proposal of the new Trademark directive, as a part of the trademark reform within the EU, go directly against the ruling in the Philips and Nokia cases and against the Understanding between the EU and India.
9
Grebeniuk, Tetiana. "Silence and speaking as forms of representation of the historical trauma in the Ukrainian prose of the Independence period." Synopsis: Text Context Media 28, no. 3 (2022): 104–12. http://dx.doi.org/10.28925/2311-259x.2022.3.1.
Full textAbstract:
The relevance of the article is determined by the current need for literary research of contemporary Ukrainian fiction works, focused on the problem of historical trauma, in the context on new achievements of trauma studies, memory studies, and identity studies. The research aims to analyze the role of the phenomena of silence and speaking in the fictional representations of historical traumas of the 20th century in the works of the Ukrainian prose of the Independence period. Methodological framework of the study includes trauma studies, memory studies, and identity studies, as well as postcolonial approach to the analysis of the fictional phenomena. The subject of the research is forms of representation pf historical trauma in the studied texts through the communicative phenomena of silence and speaking. The results of the study. As the main forms of representation of trauma in the works are considered: focus on the characters who became mute because of going through traumas; representation of the characters who stay silent on their traumas — either consciously or because of unconscious communicative barriers; a reflection of an extended process of forming of deep-seated taboo against socially disapproved ideas proclamation; attention to the situation of memory loss which makes impossible for the character to acknowledge his / her own identity; utilization of the plot-creative potential of the mystery, generation of suspense by means of narrative gaps; camouflaging of the key trauma story of the work as a minor, side one, use of unreliable narration stimulating the reader to verify represented facts of the diegesis and to draw his / her own conclusions about the significance of historical traumas in the individual life story of the character. The novelty of the study consists in the consideration of the current fiction works, which represent historical traumas of the 20th century, through the prism of communicative phenomena of silence and speaking. Connections of historical traumas with individual and national identity formation, embodied in the Ukrainian fictional discourse of the Independence period, is an interesting, promising subject of future literary studies.
10
Grosevych, I. V. "GOTHIC FICTION: FIGURATIVE PLOT PARADIGM." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 275–87. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-275-287.
Full textAbstract:
The article deals with the theoretical generalization of the attributes of a poetic of gothic, in particular in the article is analyzed in details the figurative-motive and plot-compositional levels; is traced the evolution of the image of Devil; is identified the triune category − mystery / horror / suspense – as a genre constant of gothic fiction; is identified the road archetype; is analyzed the functionality of gothic, contrast as the dominant feature of the gothic paradigm; and also is grounded the philosophical doctrine of the theodicy as one of the fundamental basis of all gothic fiction.
Dissertations / Theses on the topic "Suspence- Fiction"
1
Campbell, Samantha Nicole. ""Beyond the Pavement" and "Setting Fire to the Sky" With Critical Introduction: "Exploring the Dark: Gothic Short Stories"." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/250.
Full textAbstract:
This thesis explores the genre of gothic literature by outlining the themes and common techniques that writers use. It discusses prominent writers in the genre, as well as critiques their techniques and compares them to my own. Two fiction pieces are accompanied with the critical introduction that fit the gothic literature genre.
2
Murfin, Audrey Dean. "Stories without end a reexamination of Victorian suspense /." Diss., Online access via UMI:, 2008.
Find full text
3
Iwata, Yumiko. "Creating suspense and surprise in short literary fiction : a stylistic and narratological approach." Thesis, University of Birmingham, 2009. http://etheses.bham.ac.uk//id/eprint/284/.
Full textAbstract:
Suspense and surprise, as common and crucial elements of interest realised in literary fiction, are analysed closely in a sample of short stories, so as to develop a detailed explanation of how these forms of interest are created in literary texts, and to propose models for them. Creating suspense involves more conditions, necessary and optional, and more complication than surprise: the several optional conditions mainly serve to intensify the feeling of suspense the reader experiences. Surprise requires two necessary and sufficient conditions, with only a couple of optional conditions to maintain or ensure coherence in the text. The differences are considered attributable to a more fundamental difference between suspense and surprise as emotions. Suspense can be regarded as a progressive emotion, whereas surprise is a perfective emotion. As such, suspense as an interest is considered as a process-oriented interest, while surprise is an effect-oriented one. Suspense is mostly experienced while reading and has the reader involved with the story. Surprise drives the reader to reassess the story in the new light it throws on events and to look for some further message; this is often a main aim of the literary fiction which ends in surprise.
4
Bragg, Joetta L. "SHARING TIME." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1118206942.
Full text
5
Town, Caren Jamie. "The art of suspended compromise in American literature /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/9453.
Full text
6
De, Vries D. W. "'n Ondersoek na die verskynsel literere spanning aan die hand van Deon Meyer se roman Proteus." Thesis, University of the Western Cape, 2016. http://hdl.handle.net/11394/5667.
Full textAbstract:
Magister Artium - MAIn these novels suspense plays an important role, but elements that are usually found in literary works are also prominent in these narratives, for instance the fleshing out of characters' psyche and working with philosophical or current issues. In rhetorical terms these novels can be said to be suspense novels that make use of literary devices and themes. Novels by Deon Meyer fit into this category. In the Netherlands translations of his works are to be found among 'literaire thrillers' in bookshops. Therefore one of Meyer's novels was chosen for analysis. In this study the ways in which suspense is created in a narrative text is investigated. Proteus, a literary thriller, was chosen for its handling of characters and events in the transition in South Africa from an apartheid state to a democratic dispensation. This poses an intricate challenge for the writer. The reseach problem posed is this: How is literary suspense created in a narrative text? The creation of suspense in a narrative text has to do with literary communication. For this reason Roman Jakobson's well-known model for literary communication is at the basis of this research. Rene Appel's criteria for the creation of suspense in narrative texts, as it is explained in his work Spanning in verhalen: Over het schrijven van spannende boeken (2007), is also part of this study at its theoretical base. Various relevant sources have been included in this regard. In this formalistic study various elements pertaining to suspense in the narrative are part of the research in terms of isolating the ways in which suspense is produced in a narrative text in general and specifically in the case of Proteus. Also in this regard the novel's literarity is discussed.
South Africa
7
Waage, Fred. "The Birth Spoon." Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1939289572.
Full textAbstract:
This mystery is set in the early 1980s and based on actual events. A high-school student unearths dark and deadly secrets of his Appalachian community. The explosive consequences forever mark his own life, his family's, and his town's.https://dc.etsu.edu/etsu_books/1009/thumbnail.jpg
8
O'Neill, Brian. "A computational model of suspense for the augmentation of intelligent story generation." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/50416.
Full textAbstract:
In this dissertation, I present Dramatis, a computational human behavior model of suspense based on Gerrig and Bernardo's de nition of suspense. In this model, readers traverse a search space on behalf of the protagonist, searching for an escape from some oncoming negative outcome. As the quality or quantity of escapes available to the protagonist decreases, the level of suspense felt by the audience increases. The major components of Dramatis are a model of reader salience, used to determine what elements of the story are foregrounded in the reader's mind, and an algorithm for determining the escape plan that a reader would perceive to be the most likely to succeed for the protagonist. I evaluate my model by comparing its ratings of suspense to the self-reported suspense ratings of human readers. Additionally, I demonstrate that the components of the suspense model are sufficient to produce these human-comparable ratings.
9
Ash, Robert Charles. "Mountains suspended by a hair : Eruv, a symbolical act by which the legal fiction of community is established." Thesis, University of Leicester, 2000. http://hdl.handle.net/2381/8548.
Full textAbstract:
In 1991 a group of orthodox Jews applied to the London Borough of Barnet for permission to erect small groups of structures resembling telephone poles, connected - at a height of about twenty feet - by fine nylon filament, at thirty nine locations in the borough. Overall, the number of such structures was to be about eighty. Given that such structures closely resemble common 'street furniture', it was argued by those supporting the proposal that these items would be virtually unseen among the tens of thousands of lamp posts, telephone poles, and the like already in the area. Yet, far from remaining a routine matter for Barnet's Planning Officers, the application became an issue of heated public controversy, engaging the attention of the national and international media. The nature of that opposition is the major focus of this thesis. The religious driving force which lay behind the application relates to the laws of the Jewish shabbat. In order to overcome specific restrictions arising from those laws, Jewish sages long ago devised legal 'solutions'. Among these solutions is one which requires the creation of the physical structures which were the subject of the planning application. In everyday usage the legal solution is referred to by the Hebrew word eruv. It might be argued that this faintly absurd controversy represented in symbolic form the basic dilemma of Jewish life in liberal societies in the late twentieth century. This thesis analyses the eruv conflict in terms of space and place, modernity and post-modernity, and contemporary identities and concludes that the eruv proposal was greeted with hostility because it was seen as a disordering of space which threatened identities within a context of the operation of 'banal nationalism'.
10
Berland, Agathe. "Pratiques du détour et du suspens dans l'œuvre de J.D. Salinger." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR085.
Full textAbstract:
Cette thèse se propose de relire l’œuvre de J. D. Salinger à la lumière de l'usage que fait l'écrivain des motifs du détour et du suspens, tous deux caractérisés par un fonctionnement ambivalent. L'écriture de Salinger, fondamentalement introspective, prend par bien des aspects des allures de quête, à la fois identitaire et littéraire. L'exploration de l'identité qu'elle met en scène implique notamment un détour par l'altérité, auteur et personnages revêtant un certain nombre de masques, au risque parfois de refuser de s'en défaire ensuite. L'auteur se devine également derrière ses pratiques d'écriture, dont la dimension obsessionnelle révèle un profond désir de maîtrise de son travail, qui l'amène parfois à se perdre dans ses textes et s'apparente finalement davantage à une attitude de fuite qu'à la recherche d'un idéal littéraire. Dans l’œuvre salingerienne, le détour participe d'une réflexion sur les concepts de norme et de déviance, ainsi que sur le thème de l'errance. D'abord perçu comme néfaste, il apparaît à terme comme un moyen privilégié d'accéder à des révélations insoupçonnées. L’éloge de l'écart que l'on observe sur le plan thématique trouve un écho dans l'utilisation par les personnages-narrateurs de stratégies narratives louant les mérites du détour. La digression, le fragment, le renvoi aux marges du texte ainsi que l'intertextualité – autant d'outils interrogeant la distinction généralement établie entre le centre et la périphérie, entre l'accessoire et l'essentiel – révèlent toute leur efficacité lorsqu'ils sont employés pour aborder des sujets qui échappent aux cadres traditionnels. Le décentrement du texte passe également dans certains cas par un recours à la métatextualité qui permet notamment à l'écrivain de prolonger et de mettre en scène la réflexion qu'il mène sur son écriture. Les encarts métatextuels, parce qu'ils viennent interrompre temporairement la narration, peuvent aussi être considérés comme des manifestations du suspens dans le texte, suspens d'abord employé par Salinger pour interroger les notions de progression et de stase. Son œuvre présente simultanément une réflexion sur la résistance au passage du temps et la notion d'entre-deux, l'auteur affectionnant particulièrement la représentation de périodes liminales, à la fois lieux du mouvement et lieux hors du temps. Par ailleurs, l'écrivain s'attache par diverses stratégies narratives déployées dans ses textes à suspendre l’interprétation du sens, qui se révèle mouvant, différé, voire tout simplement retenu, lorsqu'il ne s'abîme pas dans l'absurde ou le non-sens. Ce faisant, Salinger interroge la validité de toute interprétation, plaidant pour une approche plus intuitive de l'art, et s'efforce du même geste de repousser indéfiniment l'achèvement de son œuvre, trahissant par là l'urgence éprouvée de mettre à distance l'angoisse mortifère qui l'obsèdeThe aim of this PhD research is to try to shed new light on J. D. Salinger's work by focusing on the writer's use of two inherently ambivalent motifs, namely detour and suspension. Salinger's writing, partly because of its introspective nature, often takes on the appearance of a quest, both personal and artistic. It stages the author's exploration of his own identity, which implies exploring otherness through the use of masks worn by both characters and writer, who sometimes refuse to later put them down. The study of Salinger's writing practices shows an obsessional dimension indicative of his powerful desire to control every aspect of his work, sometimes leading him to fully immerse himself in the world of fiction – an attitude in the end more evocative of evasion than of a search for literary perfection. In Salinger's work, the representation of detours is the starting point of a reflection on the concepts of norm and deviance, as well as on the theme of wandering. While it first appears as harmful, the detour motif eventually shows its potential for the revelation of unsuspected truths. Deviation is thus presented in a positive light, and its effectiveness as a writing strategy is repeatedly praised. Such stylistic devices as digression, fragmentation, or intertextuality are called upon to question the classical distinction between center and margins, between what is essential and what is incidental. Those devices are most effective when it comes to dealing with topics unfit for traditional approaches. The author’s will to decenter the text also involves the use of metatextuality, which serves the writer's exploration of his own writing and its staging for the reader's benefit. Metatextual passages, as they temporarily bring the narration to a halt, may also be seen as manifestations of suspension. In his work, Salinger first uses suspension to question the notions of progress and stasis. His texts invite the reader to engage in a reflection on the characters' resistance to the passing of time as well as the notion of in-betweenness. Indeed, the author has specialized in the depiction of those liminal periods in the lives of individuals, which are characterized by change and an out-of-time quality. Moreover, the writer makes use of different stylistic devices to suspend the reader’s access to the meaning of his stories. In most of them meaning remains unstable and unsure, whether elucidation is deferred or simply refused to the reader, who is also confronted to manifestations of the absurd or even utter nonsense. Salinger thus challenges the value of interpretation, pleading for a more intuitive approach to art, and makes sure he indefinitely postpones the completion of his own work, in the same way that his characters develop strategies to postpone their confrontation with death
Books on the topic "Suspence- Fiction"
1
Centaur: A suspence novel. United States?]: CreateSpace Independent Publishing Platform, 2013.
Find full text
2
Copyright Paperback Collection (Library of Congress), ed. Jigsaw. New York City: Leisure Books, 2005.
Find full text
3
Highsmith, Patricia. Plotting and writing suspense fiction. New York: St. Martin's Press, 1990.
Find full text
4
Highsmith, Patricia. Plotting and writing suspense fiction. New York: St. Martin's Press, 1990.
Find full text
5
Writing crime & suspense fiction and getting published. London: Hodder & Stoughton, 1996.
Find full text
6
Dutta-Flanders, Reshmi. The Language of Suspense in Crime Fiction. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-47028-7.
Full text
7
Bradstreet, Jay E. More Detail The Dark Tongue Quarterly Vol: CCCLXXXII. Helper, Utah USA: The Darktongue - Sean R. Bailey & Jay E. Bradstreet, 2012.
Find full textBook chapters on the topic "Suspence- Fiction"
1
Humm, Maggie. "Feminist Detective Fiction." In Twentieth-Century Suspense, 237–54. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20678-0_16.
Full text
2
Bentley, Christopher. "Fifty Million Copies: The Fiction of Dennis Wheatley." In Twentieth-Century Suspense, 143–60. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20678-0_10.
Full text
3
Lee, A. Robert. "The View from the Rear Window: The Fiction of Cornell Woolrich." In Twentieth-Century Suspense, 174–88. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20678-0_12.
Full text
4
Bloom, Clive. "Capitalising on Poe’s Detective: the Dollars and Sense of Nineteenth-Century Detective Fiction." In Nineteenth-Century Suspense, 14–25. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19218-2_2.
Full text
5
Stratmann, H. G. "Suspended Animation: Putting Characters on Ice." In Science and Fiction, 211–48. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-16015-3_7.
Full text
6
Bradbury, Richard. "Sexuality, Guilt and Detection: Tension between History and Suspense." In American Crime Fiction, 88–99. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19225-0_7.
Full text
7
Dutta-Flanders, Reshmi. "Introduction." In The Language of Suspense in Crime Fiction, 1–4. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-47028-7_1.
Full text
8
Dutta-Flanders, Reshmi. "Manipulated Context." In The Language of Suspense in Crime Fiction, 5–136. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-47028-7_2.
Full text
9
Dutta-Flanders, Reshmi. "Double Function." In The Language of Suspense in Crime Fiction, 137–86. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-47028-7_3.
Full text
10
Dutta-Flanders, Reshmi. "Disposition." In The Language of Suspense in Crime Fiction, 187–407. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-47028-7_4.
Full textConference papers on the topic "Suspence- Fiction"
1
Helms, Karey, and Ylva Fernaeus. "Humor in design fiction to suspend disbelief and belief." In NordiCHI'18: Nordic Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3240167.3240271.
Full text
2
Riera Retamero, Marina. "Touki Bouki: (des)encuadres políticos de la diáspora estética." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10292.
Full textAbstract:
La presente comunicación propone un acercamiento al filme Touki Bouki (1973) del director senegalés Djibril Diop Mambety, utilizando las siguientes figuras sensibles de la filosofía de Jacques Rancière como prisma epistémico: la fiction documentaire (Rancière, 2001); le régimen esthétique de l’art (Ibíd., 2011); la police, la politique et le politique (Ibíd., 2003). Así, esta investigación se propone explorar las temporalidades de una ficción documental (Rancière, 2001), que resalta una ambivalencia contrariada entre; por un lado, imágenes representacionales de un contexto post-Independencia o postcolonial (Césaire, 1950) en la ciudad de Dakar (Senegal); y por otro, la proclamación de una traslación de los espacios de la diáspora (Lao-Montes, 2007) hacia una «diaspora estética» (Peffer, 2013); a través de una puesta en escena que reensambla los recursos tácitos propios de las Nouvelle Vague con un dispositivo político y social de visibilidad (Rancière, 2001) que se sabe capaz de suspender la lógica historiográfica de la subalternidad colonial (Spivak, 1985). Asimismo, pensar el filme como una propuesta de desplazamiento hacia los márgenes «pasivos» del activismo político (Rancière, 2010). Un desplazamiento hacia prácticas no-discursivas, sino estéticas. Ya no son las imágenes documentales que pretenden dotar de «mayor realidad» (Sontag, 2003) a una situación determinada, propias de la militancia del Tercer Cine (Getino & Solanas, 1969); sino, por el contrario, la correspondencia entre formas de identificación estéticas capaces de desactivar los dispositivos policiales (Rancière, 2003) y coloniales de las retóricas amo-esclavo (Han, 2005) / opresor-oprimido (Freire, 1968). Aquí, una consecución visual que oscila entre la acción política determinante y verosímil; y la vida sin razón, propia del arte estético (Rancière, 2001), que identifica formas emancipatorias basadas en la libertad del “no saber” (Mambety, 1999).