To see the other types of publications on this topic, follow the link: Suspence- Fiction.
Journal articles on the topic 'Suspence- Fiction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research 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.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
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.
11
Beyer, Charlotte. "“I Stand Out Like a Raven”: Depicting the Female Detective and Tudor History in Nancy Bilyeau’s The Crown." American, British and Canadian Studies Journal 28, no. 1 (June 27, 2017): 91–110. http://dx.doi.org/10.1515/abcsj-2017-0006.
Full textAbstract:
Abstract This article examines the portrayal of female identity and crime in the Tudor period in Nancy Bilyeau’s contemporary historical crime fiction novel, The Crown (2012). Featuring a female detective figure, Joanna Stafford, Bilyeau’s novel forms part of the wealth of contemporary fiction using Tudor history as context, reflecting a continued interest in and fascination with this period and its prominent figures. This article examines Bilyeau’s representation of the Tudor period in The Crown through the depiction of English society and culture from a contemporary perspective, employing genre fiction in order to highlight issues of criminality. My investigation of The Crown as crime fiction specifically involves analysing gender-political questions and their portrayal within the novel and its tumultuous historical context. This investigation furthermore explores the depiction of agency, individuality, religion, and politics. The article concludes that Bilyeau’s suspense-filled novel provides an imaginative representation of Tudor history through the prism of the crime fiction genre. Central to this project is its employment of a resourceful and complex female detective figure at the heart of the narrative.
12
Berglund, Karl. "Killer Plotting." Tidskrift för litteraturvetenskap 47, no. 3-4 (January 1, 2017): 41–68. http://dx.doi.org/10.54797/tfl.v47i3-4.7852.
Full textAbstract:
Killer Plotting. Typological plot analysis based on distant readings of 113 contemporary swedish crime novels
This article updates and extends Tzvetan Todorov’s classical typology of crime fiction from 1971 – where he separates plots driven by curiosity from plots driven by suspense – through a distant reading of 113 commercially successful novels of Swedish crime fiction from the early 2000s. Furthermore, it aims to initiate a methodical discussion in literary studies concerning the benefits of using semi-big materials (instead of either very big or very small ones), and in combining computer-aided and traditional methods.
The method used – killer plotting – is a word frequency count of all the times the murderer in each novel is mentioned in the plot related to the point in the plotline where the killer is revealed to the reader (and the protagonists). These rather simple measures manage to capture the basic structures of crime novels: clues, encounters with the hidden murderer, revealing, dramatic finale.
The results show that a vast majority of the novels in the selection can be classified into one of six different plot types of crime fiction depending on how the killer appears: 1) the all-novel present murderer; 2) the seemingly insignificant murderer; 3) the suspected murderer; 4) the out-of-the-blue murderer; 5) the second murderer twist; and 6) the non-hidden murderer. All six types lie in the range between the two poles presented by Todorov, which demonstrates that contemporary Swedish crime fiction is dominated by recurring narrative structures that in various ways combine suspense and curiosity.
13
John, Jerrin Aleyamma. "Serial Killing as a Defence Mechanism: A Study of Thomas Harris’s “The Silence of the Lambs”." SMART MOVES JOURNAL IJELLH 7, no. 11 (November 28, 2019): 8. http://dx.doi.org/10.24113/ijellh.v7i11.10123.
Full textAbstract:
The literary canon carries with it a huge array of possible writings exploring the various contours of fiction, the genre of Detective fiction is one such umbrella term. The effect of mystery and suspense and the surprise factors being hidden away in the pages, keeps the readers glued to detective fiction. This paper explores the plot line of one of the prominent detective stories, Thomas Harris’s ‘The Silence of the Lambs’ in search of certain existential questions regarding the named serial killer in the plot. The social evil of killing the lives of many for the purely pleasure aspect is viewed from multiple viewpoints and a new reading of the plot by placing it within relevant contextual framework is carried out. A traversal through the psychological, behavioural and social norms of the context is explores within the paper.
14
Mathieu, Corina S., and Lucille Kerr. "Suspended Fictions. Reading Novels by Manuel Puig." Hispania 71, no. 3 (September 1988): 557. http://dx.doi.org/10.2307/342906.
Full text
15
Prieto, Rene, and Lucille Kerr. "Suspended Fictions, Reading Novels by Manuel Puig." Hispanic Review 57, no. 1 (1989): 128. http://dx.doi.org/10.2307/474255.
Full text
16
Campos, René A., and Lucille Kerr. "Suspended Fictions: Reading Novels by Manuel Puig." Chasqui 17, no. 2 (1988): 135. http://dx.doi.org/10.2307/29740093.
Full text
17
Levine, Suzanne Jill, Manuel Puig, and Lucille Kerr. "Suspended Fictions: Reading Novels by Manuel Puig." World Literature Today 62, no. 2 (1988): 255. http://dx.doi.org/10.2307/40143571.
Full text
18
Skinner, Robert E., and Paula L. Woods. "Spooks, Spies and Private Eyes: Black Mystery, Crime and Suspense Fiction." African American Review 31, no. 2 (1997): 336. http://dx.doi.org/10.2307/3042481.
Full text
19
Xiaoqing, Jia. "The Language of Suspense in Crime Fiction by Reshmi Dutta-Flanders." Style 52, no. 4 (2018): 508–12. http://dx.doi.org/10.1353/sty.2018.0049.
Full text
20
Oladayo, Muniru Murana, and Hafsat AbdulWahab. "An Exploration of Adamu Kyuka Usman’s Style of Introduction in Hope in Anarchy." International Journal of English and Comparative Literary Studies 2, no. 1 (January 26, 2021): 13–23. http://dx.doi.org/10.47631/ijecls.v2i1.160.
Full textAbstract:
Every good piece of writing, fictional or otherwise is marked by a good introduction. This initial part is the primary provider of the reader’s first impression that sustains the reading. The introduction as well as the other parts of a written or spoken text is essentially realized through specially selected language. In prose fiction, special selections and patterns are the hallmarks. This paper explores the devices of style deployed by Usman in the creation of the introduction to Hope in Anarchy. It involves an intensive reading of the first chapter of the novel to unravel its artistic underpinnings for creating and sustaining the interest of the reader in the story. This thorough reading follows a general but careful reading of the entire text to establish the writer’s preoccupation and general tone. Excerpts from the introductory chapter form the data, and the analytical framework is linguistic stylistics. The analysis reveals that the novelist annexes contrastive lexical and syntactic devices, adjectives and adverbs of varied types and semantic nuances and morpho-phonological choices to introduce and delineate characters, develop events and create suspense. The paper concludes that both the novelty and typicality of the narrative derive from these stylistic constructs.
21
Jaber, Maysaa Husam. "A “Burlesque Queen in Bobby Socks”: Domesticity, Criminality, and Suspense in Charles Williams’s Noir Fiction." Canadian Review of American Studies 52, no. 1 (April 1, 2022): 35–52. http://dx.doi.org/10.3138/cras-2021-004.
Full textAbstract:
This article proposes that Charles Williams’s mid-twentieth-century noir fiction reshapes post-war representations of gender roles and paves the way for various renditions and developments of noir. Williams’s works are narratives of transgression meeting domesticity, crime meeting docility, and cunning meeting conformity; they portray a deadly recipe that comprises different, even conflicting ingredients of a fusion between domesticity, crime, and suspense. By examining the recurring figure of the criminal housewife in his work, especially Hell Hath No Fury (1953), this article argues that Williams brings forth a complex and subversive gender schema to trouble both the creed of domesticity popular in the 1950s and the stereotyping of the lethal seductress prevalent in noir fiction. By so doing, Williams’s noir not only brings the transgression of women to the fore but also displays a compelling picture of post-war gender roles in the US under McCarthyism.
22
Zetterberg Gjerlevsen, Simona. "De, der har intet Hoved og Hierte til at læse Romaner." Passage - Tidsskrift for litteratur og kritik 33, no. 79 (July 1, 2018): 17–30. http://dx.doi.org/10.7146/pas.v33i79.127525.
Full textAbstract:
This article asks is if it is possible to identify formal qualities of serialization. It seeks the answer by going back to the first Danish attempts at writing serial fiction in the eighteenth century: Johannes Ewald’s The Foreigners (1771-1776) and Johan Clemens Tode’s The Usefulness of Love (as a serial from 1791-92; as a book in 1803). The article finds that a textual technique resembling the lyrical enjambment is useful to describe the unique suspense building that binds the episodes together in a serial. Thus, it argues that the “prose enjambment” might explain the special logic of the serial that has prevailed from the first attempts of serial fiction until today.
23
des Forges, Alexander. "Building Shanghai, One Page at a Time: The Aesthetics of Installment Fiction at the Turn of the Century." Journal of Asian Studies 62, no. 3 (August 2003): 781–810. http://dx.doi.org/10.2307/3591860.
Full textAbstract:
In the last two decades of the Qing dynasty, installment publication became the dominant mode of presentation for Chinese fiction, as it had been for European and Japanese literature for more than half a century. Whether printed daily as one feature in a newspaper, weekly in literary supplements, or monthly in the fiction journals that took off in the early 1900s, Chinese vernacular fiction of this period appeared in parts over time, just as the works of Honoré de Balzac, Charles Dickens, Jippensha Ikku, Fyodor Dostoevsky, and even Henry James did (Link 1981; Lee and Nathan 1985; Chen 1988). As early as 1892, Shanghai author Han Bangqing praised the installment form for heightening suspense and forcing the reader to imagine what might happen next; by 1910 “addiction” to installment fiction could be understood as an aesthetic experience, and the popularity of the format would only increase in the decades to follow. This article seeks to trace the rise of the installment form in late Qing and early Republican China, investigate its ties with the contemporaneous cultural production of Shanghai as a metropolitan media center, and demonstrate the effects of its associated aesthetic.
24
Pantigoso Pecero, Manuel. "Claves narrativas en la tradición «Con días y ollas venceremos». La ficción como realidad permanente." Aula Palma, no. 20 (January 2, 2023): 23–33. http://dx.doi.org/10.31381/ap.v20i20.4446.
Full textAbstract:
El trabajo muestra los aportes del Instituto Ricardo Palma, a través del análisis de la tradición «Con días y ollas venceremos»: el consabido parrafillo histórico, la descripción de los pregones limeños y el sentido del santo y seña. Se invita luego al lector a reconocer las pistas y las claves dejadas por el tradicionista, haciendo un paralelismo entre la estrategia militar y el fenómeno de la creación literaria. Se destacan, así, los procedimientos narrativos palmistas sobre todo los que corresponden al arte del ocultamiento o engaño, la sugerencia y apetencia del juego verbal, el concepto moderno de la historia a través de la ficción y la interpolación de otros elementos para potenciar la idea del tiempo, del espacio y de la atmósfera de lo narrado. Al final aparece el acertijo resuelto con toques que anuncian lo real maravilloso.
Palabras clave: acertijo, estrategias, suspenso, ficción, modernidad.
Abstract
The article shows the contributions of the Ricardo Palma Institute, through the analysis of the tradition “ Con días y ollas venceremos” (“We will win with days and pots”): the well-known historical paragraph, the description of the Lima proclamations and the meaning of the santo y seña. The reader is then invited to recognize the keys and clues left by the traditionist, making a parallelism between military strategy and the phenomenon of literary creation. Thus, the palmist narrative procedures are highlighted, especially those that correspond to the art of hiding or cheating, the suggestion and appetence of the verbal game, the modern concept of history through fiction and the blending of other elements to enhance the idea of time, space and the atmosphere of the narration. In the end the riddle appears solved with touches that announce the marvelous reality.
Keywords: riddle, strategies, suspense, fiction, modernity.
25
Eichel, Roxana. "Genre Transgression in Contemporary Romanian Crime Fiction." Acta Universitatis Sapientiae, Philologica 11, no. 1 (November 1, 2019): 21–34. http://dx.doi.org/10.2478/ausp-2019-0002.
Full textAbstract:
Abstract Crime fiction is currently evolving towards a literary genre which encompasses the intertwining of several textual practices, rhetorical modes, cultural identities, and topoi. Multiculturalism and the relation to alterity are gradually conquering the realm of detective fiction, thus rendering the crime enigma or suspense only secondary in comparison to other intellectual “enjeux” of the text. Transgressing the national horizon, contemporary detective fiction in Romanian literature can be thus considered as “world literature” (Nilsson–Damrosch–D’haen 2017) not only because it does not engage representations of Romanian spaces alone but also due to its translatability, its transnational range of cultural values and practices. This article aims to discuss several categories of examples for this fresh diversity that Romanian crime fiction has encountered. Novels written recently by authors such as Petru Berteanu, Caius Dobrescu, Mihaela Apetrei, Alex Leo Şerban, or Eugen Ovidiu Chirovici employ variations such as either alternative narrators or cosmopolitan characters, or contribute to anthologies, writing directly in English in order to gain access to a more complex audience. The paper sets out to analyse the literary or rhetorical devices at work in these transgressional phenomena as well as their effects on contemporary Romanian crime narratives and their possible correlations to transnational phenomena.1
26
COULARDEAU, Jacques. "FREE-FALLING DESCENT INTO EPIPHANY OR APOCALYPSE STEPHEN KING – A FAIRY TALE." International Journal of Theology, Philosophy and Science 6, no. 11 (November 27, 2022): 5–29. http://dx.doi.org/10.26520/ijtps.2022.6.11.5-29.
Full textAbstract:
Stephen King has published more than 70 books, many of them adapted to the cinema and television, some original series with no published scenario, except Storm of the Century in 1999. His reach is a lot wider than plain horror. He systematically mixes the various genres of horror, fantasy, suspense, mystery, science fiction, etc. I will only consider his latest stand-alone novel with no co-author, and not part of a series like Gwendy’s Final Task, also published in 2022, co-authored with Richard Chizmar. I will show the style uses some patterns to build the architecture of the story, in this case, ternary structures at all levels of story and style. This ternary pattern is borrowed from the Bible and many fairy tales collected by the Grimm Brothers. The ending brings up a problem: it locks up the two deep and deeper levels with a concrete slab, thus breaking the ternary topography. Is it meaningful about Stephen King’s fiction, or is it only suspending the situation in order to produce a sequel by reopening the passage under the concrete slab, or when Gogmagog manages to escape the deeper level and to invade the human world? That’s Stephen King’s mystery. His fiction is so popular and has been so much exploited on the various screens that we wonder if this multifarious fiction will survive the author, even with his two sons to promote and prolong the fame of his fiction when it becomes necessary.
27
Platten, David. "Wired to the Word: On Reading Thrillers." French Cultural Studies 21, no. 4 (November 2010): 267–75. http://dx.doi.org/10.1177/0957155810378573.
Full textAbstract:
The appearance in 2003 of 21 Georges Simenon novels in the Bibliothèque de la Pléiade reaffirmed a widespread consensus that French-language crime fiction, especially the roman noir with its vigil over the political and social ills of the nation, had secured its position as an important vector of French cultural history. Its sister genre, the thriller, has fared less well. Justly criticised for its expedient style and limited intellectual horizons, the thriller continues to appeal to a mass readership drawn from all sectors of society.This article locates its attractions in the ways in which we might once have engaged with the adventure stories of our collective youth that furnished our first solitary contact with literary fiction. It argues that our response to narrative suspense in adventure stories consumed in early adolescence is later rekindled and developed in the more adult thrillers of the modern age. Working within a conceptual framework that includes the psychologically based thrillers of Boileau-Narcejac and Sébastian Japrisot juxtaposed with the adrenalin rush of events supplied by Dan Brown and Maxime Chattam, it analyses the different modalities of suspense and their concomitant reading pleasures, concluding that the thriller meets the expectations not of a certain group of readers but of a certain type of reading experience.
28
Moura, Jean-Marc. "Discours touristiques et fiction des Caraïbes: le suspens du temps." Nottingham French Studies 51, no. 1 (March 2012): 14–25. http://dx.doi.org/10.3366/nfs.2012.0003.
Full textAbstract:
Je voudrais montrer comment un certain imaginaire touristique transforme les Caraïbes en une merveille édénique afin d'attirer les clients occidentaux. Cette construction de l'archipel en espace originel n'est cependant pas l'apanage du tourisme contemporain, elle a été précédée par un ensemble de discours parfois littéraires et anciens sur les îles paradisiaques. Il s'agit donc d'examiner ces discours de deux façons : à la manière d'une généalogie, pour en décrire les sources, et selon les axes d'une histoire littéraire, afin de vérifier comment les auteurs caribéens réagissent à ces discours. Je prendrai notamment les exemples d'Aimé Césaire (Cahier d'un retour au pays natal), V.S. Naipaul (les œuvres sur les Caraïbes), Daniel Maximin (L'Isolé Soleil). J'espère parvenir ainsi à envisager de grandes images, littéraires ou non, des Caraïbes en archipel sorti du temps, et les principaux éléments stylistiques et de poétique liés à cette représentation.
29
Dr Sunil V. Pawar. "The War Beyond Ruin by Gemma Liviero: A Novel about Atrocities of War." Creative Launcher 5, no. 2 (June 30, 2020): 60–64. http://dx.doi.org/10.53032/tcl.2020.5.2.07.
Full textAbstract:
War causes physical exertion and suffering. The soldiers and the people have to make themselves indifferent to these otherwise they would be destroyed. There is always uncertainty in war. Chance also plays an important role in war as it makes everything more uncertain. The whole course of events is interfered by it. War is a matter of determination and courage. The War Beyond Ruin is Liviero's war based fiction. It is a lyrical writing and unusual story. Though a war novel, this is not typical World-War-II-era novel. It's beautiful and gritty historical fiction combined with mystery and suspense and completely unique characters who live through hard times. The ending is life-affirming and fills with hope. It is all about the misery and complexity of life during and after WW II in Germany and Italy.
30
Dabbagh, Tara. "Intertextuality in Tragedy and Crime Fiction in Shakespeare’s Othello, Webster’s The Duchess of Malfi, Christie’s Curtain and Sleeping Murder." Al-Adab Journal, no. 128 (March 15, 2019): 77–96. http://dx.doi.org/10.31973/aj.v0i128.417.
Full textAbstract:
Christie maneuvers the storylines of Shakespeare’s Othello (c. 1604) and Webster's The Duchess of Malfi (1613/14) into crime fiction in, respectively, Curtain (1975) and Sleeping Murder (1976), establishing the actions of certain characters as patterns of behavior. Yet, despite the similarities in the four texts, and in accordance with the requirements of her genre, she does not allow the resulting structuralist intertextuality diminish the suspense in her stories. Unlike the tragedies which aim at emotional involvement, her two books
31
Serkowska, Hanna. "D. D. jak dreszcz demencji." Poznańskie Studia Polonistyczne. Seria Literacka, no. 34 (January 11, 2019): 41–62. http://dx.doi.org/10.14746/pspsl.2018.34.2.
Full textAbstract:
The claim here is that cultural representations of dementia may benefit from the structure of crime fiction which appears therefore to be among the theme most suited genres. We do not know enough about the disease or its etiology (the “culprit” remains unknown), hence the situation of the sufferer befits that of enigma or suspense, fear or confusion, doubt and presumption, standardly deployed by detective stories. Crime fiction narratives underscore that which is at stake in dementia: the riddle of disappearing of the person affected, the puzzle of memory loss, the identity doubt which extends to the relative when he or she is not recognized by the sufferer. By turning to a detective genre, Alzheimer’s novel profits from the genre’s growing popularity, owing to the reading public’s demand for challenges enhancing “mind reading” competences and training predictive abilities. The latter are more in demand as neurocognitive standards of readers grow.
32
Vollrath, Fritz. "Spiderman silks – science and fiction." Biochemist 37, no. 6 (December 1, 2015): 6–9. http://dx.doi.org/10.1042/bio03706006.
Full textAbstract:
Seeing Spiderman swing through New York City tingles the spine and exercises the brain. His ease in making and manipulating gossamer filaments for aerial stunts is truly breathtaking and awe inspiring. If only I had these powers, so one thinks. Which, for materials biologists with decades of experience analysing the stuff, is humbling, to say the least, as totally unforeseen and novel capabilities and capacities emerge. As Spiderman squirts, swipes and swings he suspends both himself and belief in a world where manly strands and strings of gossamer silk are used elegantly both in defence and attack. Let us forget about the ability to sustain body blows that would kill the normal spider, which is quite fragile and, once punctured, loses its mobility as the universal consequence of leakage in a hydraulic system. Whether spiders have a faster reaction time than humans remains to be tested but is most certainly an interesting proposition. Seeing homo arachnoides tumble and swing suggests a good capacity for high g-forces (comparable to that of astronauts and Formula One drivers). Indeed, spiders have such capacity and will build webs in forces up to 14g – but then they are much smaller than our hero, and body size does matter in this department. This brief overview of his fabulous capabilities brings us to the silks, which are Spiderman's signature feature, in both name and spirit.
33
Kokotkiewicz, Martyna. "Extraordinary Protagonists, Average Issues." Folia Scandinavica Posnaniensia 25, no. 1 (December 1, 2018): 101–11. http://dx.doi.org/10.2478/fsp-2018-0016.
Full textAbstract:
Abstract Thriller is considered to be a subgenre of criminal fiction, in which the most significant role is played by fast-paced action, suspense, spectacular events. In case of so called international and political thrillers it should also be mentioned that their authors construct their plots around the problems such as global conflicts, international conspiracy, terrorism, the development of nuclear weapon. However, problems commonly mentioned by many authors of other subgenres of criminal fiction, are also present in the novels classified as thrillers. The collapse of well-being society, unstable interpersonal relationships, mental problems of an individual, childhood traumas are therefore often mentioned by the writers, although they do not usually constitute main subjects of the novels. The article concentrates on some examples from international and political thrillers, in which such issues seem to be equally important, written by the most popular Finnish authors of this particular genre, namely Ilkka Remes and Taavi Soininvaara.
34
Hauthal, Janine. "Rewriting ‘white’ genres in search of Afro-European identities." English Text Construction 10, no. 1 (June 15, 2017): 37–58. http://dx.doi.org/10.1075/etc.10.1.03hau.
Full textAbstract:
Presuming that both travel and crime fiction can be described as traditionally ‘white’ genres, this article investigates how contemporary Black British authors appropriate these genres. Focusing on Mike Phillips’s A Shadow of Myself and Bernardine Evaristo’s Soul Tourists, the article examines how the two novels redeem and suspend the traditional racial and national coding of travel writing and crime fiction by rehabilitating black mixed-race characters. In both novels, moreover, the rethinking of traditional popular genres coincides with, and is partly enabled by, a transnational shift in focus from Britain to Europe. A closer look at the novels’ respective endings, finally, reveals how each conceptualises the relationship between Britain and Europe differently, and how this difference can be explained by the impact of genre.
35
Vuohelainen, Minna. "‘[B]etween power and the people’: Journalist-Investigators in Nordic Crime Fiction." Crime Fiction Studies 1, no. 1 (March 2020): 59–78. http://dx.doi.org/10.3366/cfs.2020.0007.
Full textAbstract:
Recent Nordic crime fiction contains numerous amateur detectives who are professional journalists. Their presence is partly explained by the shared roots and formal affinities of crime reportage and crime fiction, and by the journalistic backgrounds of many Nordic crime writers. However, the rise of the journalist-investigator as a rival to traditional police detectives is also a mark of growing distrust in the competence of the Nordic welfare state and its officials. Nordic journalist-investigators are typically crusading reporters motivated by a desire to uncover and prevent social injustice, including the neglect and abuse of vulnerable social groups by absent, incompetent or corrupt public officials. In acting as moral guardians of social justice, journalist-investigators carry out the principle of the press as a fourth estate, designed to check state power by publicising abuses of authority, and signal a possible shift from the welfare state towards a civil society. However, this role is also compromised by the ethical dilemmas journalist-investigators face between the demands of uncovering information, protecting vulnerable witnesses, informing the public, preventing crime and meeting commercial imperatives. These conflicts spotlight troubling tendencies within crime fiction and crime reportage: both kinds of writing are underpinned by a narrative structure of anticipation, suspense and dramatic revelation and premised upon the reader's voyeuristic investment in sensational subjects.
36
Barba, Eugenio. "The Actor's Energy: Male/Female versus Animus/Anima." New Theatre Quarterly 3, no. 11 (August 1987): 237–40. http://dx.doi.org/10.1017/s0266464x00015220.
Full textAbstract:
INTEREST IN ACTORS who play female roles and actresses who play male roles is periodically rekindled. At such times, one might almost suspect that behind these disguises, these contrasts between reality and fiction, lie hidden one of the theatre's secret potentialities. One also often speaks of the actor's female side and the actress's male side, and attempts to develop these forthwith by means of apposite exercises.
37
Nordeen, Claire A., and Sandra L. Martin. "Engineering Human Stasis for Long-Duration Spaceflight." Physiology 34, no. 2 (March 1, 2019): 101–11. http://dx.doi.org/10.1152/physiol.00046.2018.
Full textAbstract:
Suspended animation for deep-space travelers is moving out of the realm of science fiction. Two approaches are considered: the first elaborates the current medical practice of therapeutic hypothermia; the second invokes the cascade of metabolic processes naturally employed by hibernators. We explore the basis and evidence behind each approach and argue that mimicry of natural hibernation will be critical to overcome the innate limitations of human physiology for long-duration space travel.
38
McDuffie, Keith. "Suspended Fictions: Reading Novels by Manuel Puig de Lucille Kerr." Revista Iberoamericana 53, no. 141 (December 20, 1987): 1056–58. http://dx.doi.org/10.5195/reviberoamer.1987.4417.
Full text
39
Beck, J. "DANIEL CORDLE. States of Suspense: The Nuclear Age, Postmodernism and United States Fiction and Prose." Review of English Studies 61, no. 252 (October 8, 2010): 838–40. http://dx.doi.org/10.1093/res/hgp094.
Full text
40
Haugtvedt, Erica. "The Sympathy of Suspense: Gaskell and Braddon’s Slow and Fast Sensation Fiction in Family Magazines." Victorian Periodicals Review 49, no. 1 (2016): 149–70. http://dx.doi.org/10.1353/vpr.2016.0009.
Full text
41
Muse, Daphne. "Detectives, Dubious Dudes, Spies and Suspense in African American Fiction for Children and Young Adults." Black Scholar 28, no. 1 (March 1998): 33–39. http://dx.doi.org/10.1080/00064246.1998.11430899.
Full text
42
Hardy, Donald E. "Narrating knowledge: presupposition and background in Flannery O'Connor's fiction." Language and Literature: International Journal of Stylistics 6, no. 1 (February 1997): 29–41. http://dx.doi.org/10.1177/096394709700600102.
Full textAbstract:
Clausal presupposition in Flannery O'Connor's fiction is examined and shown to contribute stylistically to O'Connor's explorations of the fallibility of human knowledge. Marked presuppositional constructions - those in which the narrator and narratee do not share the background knowledge of the presupposition - are analysed as attempts on the part of the narrator to put into a shared gestalt background contested knowledge. These attempts have three main effects: (1) an ironic comment on false knowledge held by a character; (2) a displacement of knowledge from a character's awareness; (3) an empathetic response to a character's knowledge of mystery or destiny. A call is made to develop a typology of literary uses of marked presuppositional constructions making reference not only to the quality of knowledge among the narrator, narratee, and character(s), but also to the specific literary effect of marked presupposition, e.g. irony, narrative suspense, empathy. If it is true that marked presupposition is a fundamental characteristic of literary enjoyment (Kock, 1976), a typology of a narrator's use of contested presuppositions tells us much about a particular author's characteristic strategies of engaging a reader's interest. It is left an open question whether all authors whose narrators use contested presuppositions are as concerned as O'Connor was with the fallibility of human knowledge.
43
Janis, Michael. "“The Bet” against Nihilism: The Intellectual Journey in Chekhov’s Short Fiction." Interdisciplinary Literary Studies 23, no. 4 (September 1, 2021): 477–502. http://dx.doi.org/10.5325/intelitestud.23.4.0477.
Full textAbstract:
Abstract Anton Chekhov’s “The Bet” (1889) may be considered a latter-day conte- philosophique, as a symbolic engagement with the philosophical challenges presented by nihilism and anarchism that reverberated through Russia since the 1860s. Occasionally assigned in literature classes and alluded to by political pundits, the story nonetheless has not been recognized by critics as a masterpiece of irony and existential inquiry, influenced by countervailing currents of nineteenth-century philosophy. Considered in this article in the broader context of the Chekhovian intellectual journey, the fascinating yet unsettling quest for wisdom described in “The Bet” reflects a pivotal era of the Russian elite, suspended between bourgeois indifference and philosophical recognition.
44
Shewry, Teresa. "States of Suspense: The Nuclear Age, Postmodernism and United States Fiction and Prose (review)." MFS Modern Fiction Studies 57, no. 4 (2011): 764–66. http://dx.doi.org/10.1353/mfs.2011.0073.
Full text
45
Abby J. Kinchy. "States of Suspense: The Nuclear Age, Postmodernism, and United States Fiction and Prose (review)." Technology and Culture 51, no. 1 (2009): 282–84. http://dx.doi.org/10.1353/tech.0.0412.
Full text
46
Han, Kyunghee. "Suspended Woman - ‘Becoming a Woman’ for Working Class Women in Shin Kyung-sook’s Fiction." Study of Humanities 36 (December 31, 2021): 63–88. http://dx.doi.org/10.31323/sh.2021.12.36.03.
Full text
47
MACHOR, J. L. "READING THE RINSINGS OF THE CUP." Nineteenth-Century Literature 59, no. 1 (June 1, 2004): 53–77. http://dx.doi.org/10.1525/ncl.2004.59.1.53.
Full textAbstract:
Although a widely shared critical perception is that Herman Melville's first two books, Typee (1846) and Omoo (1847), received comparable responses from reviewers in the late 1840s, the antebellum reception of the second novel was anything but a mirror of the response to the first. Not only did Omoo sell fewer copies and receive fifty fewer reviews than Typee, but reviewers also read Omoo through an altered set of interpretive assumptions that turned it, in their view, into a problematic and ultimately disappointing sequel. Part of this shift involved a marked increase in objections to Melville's critique in Omoo of Christian missionaries. A major factor in this response was that reviewers, after having struggled with the question of Typee's authenticity, were inclined to take Omoo as a prima facie work of fiction. Such an assumption meant that, in the logic of antebellum reading formations, Omoo's credibility as social critique was suspect by virtue of its fictional status. This impugning of the novel's authority, in turn, helped pave the way for reviewer responses that questioned the author's own morality. Adding to the problem was the fact that several key reviewers found Omoo to be disappointing because it failed to mark an advance on Typee. Such turns in audience response were significant in repositioning Melville in the antebellum literary marketplace, not only in terms of the public perception of his writings but also in the way in which he conceived his relation to his audience with his next novel, Mardi (1849).
48
Zadeh, Mohammad Reza Modarres. "A Reading of Flannery O’Connors “Everything that Rises Must Converge”." International Letters of Social and Humanistic Sciences 4 (September 2013): 5–10. http://dx.doi.org/10.18052/www.scipress.com/ilshs.4.5.
Full textAbstract:
Everything that rises must converge is a short story which, without the aid of suspense that is often provoked in fiction by actions hanging on a bare thread in a whirling plot of intertwining – and perhaps incredible – events, catches the reader‟s attention until the very last word. The plot of the story could not be any simpler; a young bachelor takes his overweight mother by bus to a „reducing class‟ but before they reach the place the mother changes her mind, heads back home, has a stroke and is left by her helpless son dying or maybe dead as he goes to seek help. But parallel to the plot of events is a “plot" of revelation; as the insignificantly banal happenings take place, an unfolding of character slowly emerges before the reader‟s eyes.
49
Bennett, Andrew. "A Short Statement and an Innocent Game: James Joyce and Stephen Dedalus in Samuel Beckett's Watt." Journal of Beckett Studies 22, no. 2 (September 2013): 201–16. http://dx.doi.org/10.3366/jobs.2013.0072.
Full textAbstract:
This article takes P.J. Murphy's Beckett's Dedalus: Dialogical Engagement with Joyce in Beckett's Fiction (2009) as a useful if incomplete platform from which to mark the intertextual points of contact between Samuel Beckett's novel Watt (1953) and the aesthetics of epiphany articulated by Stephen Dedalus in James Joyce's A Portrait of the Artist as a Young Man (1917). By expanding the passages under analysis beyond those proposed by Murphy, Watt emerges as a tipping-point in Beckett's transition from an aesthetics inflected by Joyce's transcendental verbosity to one that accepts language as suspect, and marks gesture as beautiful.
50
Román Alcalá, Ramón. "Practical scepticism of life. Theoretical scepticism of fiction in ancient skepticism." Revista de Filosofía (Madrid) Avance en línea (October 20, 2022): 1–14. http://dx.doi.org/10.5209/resf.76021.
Full textAbstract:
It is a natural fact that life, unlike judgments, cannot be suspended. We accept that we must decide in life, and that we move, or have impulses, towards certain things. Hence, we act in one way or another, drawing on and assigning a certain validity to impressions detected by our senses, while deeming others unreliable. This is what Sextus means, when he states that the sceptic applies criteria not to distinguish the true from the false, but rather to deal with life. In this article we will contend that the differences between the different types of philosophies, and even scepticisms, occur more on the gnoseological level than on the practical one. Moreover, we maintain that, in most cases, we do not act with established principles. Rather, we act with a certain “socialized” scepticism that we all draw upon, allowing ourselves to be convinced by the data that we have, in a relative way, accepting that the probable, plausible or reasonable in each situation determines whether we act in one way or another, with everything being shaped by what appears to us, by phenomena.