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Relevant bibliographies by topics / Suspense fiction

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Academic literature on the topic 'Suspense fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Suspense fiction"

1

Miksanek, Tony. "Suspense Fiction." JAMA 296, no. 14 (October 11, 2006): 1781. http://dx.doi.org/10.1001/jama.296.14.1782.

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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.

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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.

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Schubert, Christoph. "Tarantino’s eloquent villains." English Text Construction 16, no. 2 (December 31, 2023): 119–43. http://dx.doi.org/10.1075/etc.22022.sch.

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Abstract Suspense as an aesthetic effect is a key narrative strategy of thriller movies, serving the function of entertainment for wide audiences. As the plot unfolds, arcs of suspense rely on triggering an appealing sense of anticipation that calls for a resolution. The present study examines the creation of suspense throughout fictional dialogue in Quentin Tarantino’s popular feature films Pulp Fiction (1994), Inglourious Basterds (2009), and Django Unchained (2012). In these movies, dialogic interaction is often dominated by eloquent villains who skilfully flout the conversational maxims of Grice’s cooperative principle, thereby exercising verbal power over other interlocutors. As is demonstrated in a qualitative pragma-stylistic framework, the villains’ discursive strategies amount to stylistic deviation resulting in suspenseful implicatures. In particular, suspense is commonly caused by digressing from current topics, by giving too little information or too many details, by being insincere or ironic, and by making equivocal or redundant statements.

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Nykytchenko, Kateryna P., and Halyna V. Onyshchak. "TRANSLATION, MULTIMODALITY AND HORROR FICTION." Alfred Nobel University Journal of Philology 2, no. 26/2 (December 26, 2023): 253–69. http://dx.doi.org/10.32342/2523-4463-2023-2-26/2-16.

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The paper outlines a framework for approaching the complexities of translating multimodal means in horror fiction. Nowadays, the horror genre is reaching its peak, becoming the most remarkable mass product in demand. It is sharply distinguished from other literary genres due to generating a morbid mood and heart-stopping suspense in the textual canvas. From this perspective, the research aims to identify multimodal means essential for creating suspense in King’s horror novels “Pet Sematary” (1983) and “Outsider” (2018) and determine the translation strategies used to render them into Ukrainian. In this regard, multimodal means stir fresh interest since they implicitly complement and clarify the information transmitted verbally. The research framework is designed with two primary objectives. Firstly, to disclose the phonic and graphic means utilized in recreating horror imagery in the TL text. Secondly, to examine the translation strategies employed in rendering the multimodal means into the TL. The principles of the comparative approach were chosen to identify the similarities and differences between translation strategies in the analyzed texts. The research methodology adopted in this study enables a comprehensive study of the multimodal means in the horror fiction genre, employing a meticulous approach that involves data collection, analysis, and interpretation through the lens of translation strategies, contextual and pragmatic analyses. The conducted research reveals the involvement of phonic and graphic means to influence the readership unconsciously. The frequency of phonic means depends on the context of their occurrence. Graphic means are represented by syngraphemic, supragraphemic, and topographemic elements. To render the sense of the SL adequately and meet the TL audience expectations, the translators of “Pet Sematary” and “Outsider” advocated semantic, grammatical, and pragmatic translation strategies. Synonymous and contextual substitution, loan, antonymous and descriptive translation, addition, and compression proved to be the dominant translation transformations. The in-depth analysis has shown that the translators faced multiple hindrances, making some errors in encoding polysemiotic signs. However, the TL version makes sense, undeniably affecting the reader and retaining the author’s communicative intent.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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Dissertations / Theses on the topic "Suspense fiction"

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Murfin, Audrey Dean. "Stories without end a reexamination of Victorian suspense /." Diss., Online access via UMI:, 2008.

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2

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/.

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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.

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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.

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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.

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Bragg, Joetta L. "SHARING TIME." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1118206942.

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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.

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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.

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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.

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Magister Artium - MA
In 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

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Waage, Fred. "The Birth Spoon." Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1939289572.

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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

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Lin, Jessica Yi-Hsin. "How suspense in detective fiction is affected when translated : a case study based on textual analysis of three Chinese translations of The Hound of the Baskervilles." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3790.

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Suspense as represented in translated fiction is an under-researched field. To date, there appear to be no published studies of suspense in translated versions of detective fiction. This thesis aims to examine how suspense is re-created or re-presented in translation into Chinese, and whether and how the translation changes the sense of suspense. The investigation is based on an exploratory comparative textual study of three recent Chinese translations of Sir Arthur Conan Doyle’s The Hound of the Baskervilles, one of Sherlock Holmes’ most renowned cases. The thesis adopts Iwata’s (2008) model of suspense as the theoretical framework and modifies it to better identify the suspense as conveyed in the source text and the three translations. Van Leuven-Zwart’s (1989) transeme model is used to examine semantic shifts in the three Chinese translations to determine how suspense is re-created and affected in the target texts. The findings suggest that all three translators have shown inconsistency when tackling suspenseful conditions as various shifts are detected in each translation. The translators choose to make no shift or a certain degree of semantic shift each time, based on their own understanding and interpretation of the selected text, leading to divergent re-creation of suspense. The thesis identifies potential contributors to translation of suspense which may impact on future research and practice. The data presented here relate to Chinese translation, but may be applied to other language pairs.

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Najjara, Nabil. "Le retour critique de l’intrigue dans le Nouveau Roman français : entre tension et passion." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20028/document.

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L’objet de cette recherche est de revisiter la notion d’intrigue dans le Nouveau Roman après une campagne de dénigrement théorique menée par certains nouveaux romanciers. Une reconsidération qui s’inspire essentiellement des travaux de Paul Ricoeur sur « La Mise en intrigue » et qui se fonde principalement sur les études récentes de Raphaël Baroni sur « la tension narrative ». Dans la première partie il s’agit de remettre en perspective littéraire et critique cette notion en la confrontant au roman dit « traditionnel » et en parcourant les travaux nombreux des écrivains, critiques et théoriciens qui ont abordé cette question.La deuxième partie est concrètement une mise en chantier où sont éprouvées les idées de fiction, de passion, de suspense et de tension.Enfin la dernière partie est une sorte de reprise d’un modèle précis d’intrigue qui est celui du roman policier dans la perspective de mettre en évidence son aspect passionnant et passionnel
The object of this research is to revisit the notion of “intrigue” in the new novel after a campaign of theoretical belittlement led by certain new novelists. A reconsideration which is essentially inspired by Paul Ricoeur’s works on “ the stake in intrigue” and which is based mainly on the recent studies of Raphaël Baroni on the narrative tension.In the first part it is question of handling in literary and critical perspective this notion by confronting it with the so-called “traditional” novel and by examining the numerous works of the writers, the critics and the theorists who approached this question.The second part is concretely and deeply analysed where the ideas of fiction, passion, suspense and tension are studied. Finally the last part is a kind of resumption of precise model of “intrigue” which is the one of the detective novel in the perspective to bring to light its fascinating and passionate aspect

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Malatji, Permission Agosi. "Examining a comparative depiction of crime in Smith and Nesbo's selected novels : an afro-western perspective." Thesis, University of Limpopo, 2019. http://hdl.handle.net/10386/3192.

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Thesis (M. A.(English Studies)) --University of Limpopo, 2019
This study explores a literary comparative examination of crime between Africa and Scandinavia, with special attention to Botswana and Norway. Smith’s and Nesbo’s selected novels are used as primary texts for analysis. The novels are, therefore, set in two different areas. These writers depict crime from the African and European perspectives. Chapter One deals with a brief introduction, and the aim and objectives of the study. It also expands on the theoretical background and provides definitions of terms that are used in this paper. Chapter Two presents views from various scholars on crime. This study is based on an Afro-Western approach of literary analysis. In other words, there are thoughts by both African and Western writers which assist in determining possible and noticeable similarities and differences, on the issue of crime. Chapter Three analyses crime from an African perspective while Chapter Four discusses crime from a Western point of view. Each of these chapters reflects on crime through character portrayal and depiction within its context. Chapter Five is a comparative analysis of both novels. The chapter identifies possible similarities and differences, mainly of the depiction of crime in different settings – Africa and Scandinavia, committed by blacks and whites. However, the structural and linguistic approaches of both the novels are also reviewed, assisting in discovering the life, in comparison, of the authors. The last chapter (Chapter Six), is a conclusion of the study and future suggestions. Basically, the study argues that blacks only should not be portrayed as perpetrators, but that whites too can be culprits. Again, there should be an equal of measurement on the weight and honour of the two races. Lastly, the moral is that without considering skin colour, financial and social backgrounds, justice must be served equally. Hence, whoever is caught in any form of wrongdoing, they must be given the appropriate punishment – regardless of race, colour, religious creed, gender, financial and social background. Key Words: Crime, Afro-Western, Marxism, suspense, detective, identity, puzzle, fix, accumulation, class, characterisation and setting

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Books on the topic "Suspense fiction"

1

Highsmith, Patricia. Plotting and writing suspense fiction. New York: St. Martin's Press, 1990.

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Highsmith, Patricia. Plotting and writing suspense fiction. New York: St. Martin's Press, 1990.

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Hall, Parnell. Suspense. New York: Mysterious Press, 1998.

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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.

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Linscott, Gillian. Knightfall: Suspense. London: Macmillan, 1986.

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Butcher, Kristin. Summer of suspense. North Vancouver, B.C: Whitecap, 2002.

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McBain, Ed. Nocturne: Roman suspense. Outremont, Québec: Quebecor, 1997.

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JD. Clearsands: Fiction/Suspense. Xlibris Corporation LLC, 2022.

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JD. Clearsands: Fiction/Suspense. Xlibris Corporation LLC, 2022.

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Creating Suspense in Fiction. Robert Hale Limited, 1999.

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Book chapters on the topic "Suspense fiction"

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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Dutta-Flanders, Reshmi. "Orientation." In The Language of Suspense in Crime Fiction, 409–56. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-47028-7_5.

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Conference papers on the topic "Suspense fiction"

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Charles, Lise. "Le babil indiscret de Jupiter : de la Querelle d’Homère aux théories modernes du suspense." In « Une espèce de prédiction ». Dire et imaginer l’avenir dans la fiction d’Ancien Régime. Fabula, 2018. http://dx.doi.org/10.58282/colloques.5740.

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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.

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ZAHARIA, Viorica. "Murakami’s eclectic style." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p71-75.

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This article analyzes some of the features of Murakami’s writing that are characterized by an eclectic style. One of the most read contemporary prose writer is Haruki Murakami who managed to suspend the border between „high” and „pure” by his works that characterized Japanese literature by tradition and, from „common” and „ordinary”, it made possible thematic „pretexts” for Romanian text. And the international success of the books is due to the specific rhythm of his prose that have broken the barriers between East and West. The fiction word of Murakami’s work is an eclectic and postmodern one and it harmoniously amalgamates elements of surrealism, realism, fantasy, science fiction and pop culture.

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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.

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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).

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Mattana, Leticia, Carlos Eduardo Verzola Vaz, and Patrícia Turazzi Luciano. "Ciclo de oficinas GMA." In ENCONTRO NACIONAL SOBRE O ENSINO DE BIM. Antac, 2021. http://dx.doi.org/10.46421/enebim.v3i00.307.

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O GMA é o Grupo de Modelagem Avançada da Universidade Federal de Santa Catarina (UFSC), formalizado por meio de um Programa de Extensão universitária e tem como propósito promover eventos e cursos de extensão em temas variados, incluindo modelagem BIM, paramétrica, simulação e automatização na arquitetura. O grupo é formado por professores do Departamento de Arquitetura e Urbanismo e Design, estudantes de graduação e pós-graduação da Universidade Federal de Santa Catarina e profissionais. O Ciclo de Oficinas GMA é um evento semestral promovido por este grupo, ocorrendo no início do semestre letivo de ensino da graduação. Este Ciclo promove cursos de formação complementar sobre ferramentas BIM e de modelagem paramétrica, além de outros cursos que incentivam a adoção de tecnologia da informação e automatização de processos de projeto no campo da Arquitetura e Urbanismo. O Ciclo de Oficinas GMA aborda assuntos não contemplados no rol de conteúdos do currículo do curso de Graduação em Arquitetura e Urbanismo da Universidade Federal de Santa Catarina e realiza-se de forma aberta à comunidade. No semestre 2020.1 foi realizado o “I Ciclo de Oficinas GMA” durante os meses de Fevereiro e Março de 2020, de forma presencial antes da suspensão das atividades devido à pandemia do Covid-19. No semestre 2020.2 ocorreu o “II Ciclo de Oficinas GMA” de forma remota entre os dias 25 de Janeiro e 12 de Fevereiro de 2021. O “I Ciclo de Oficinas GMA” contemplou seis cursos de extensão: (1) Digitalização da construção e Modelagem no ArchiCAD; (2) Introdução à parametrização com Grasshopper; (3) Introdução a maquetes de papel com prototipagem digital; (4) Oficina de arquitetura performativa; (5) Oficina de auTETEmação com Arduino e (6) Oficina de paisagismo: a utilização de aplicativos de reconhecimento de vegetação. Os instrutores dos cursos foram 2 estudantes da graduação em Arquitetura e Urbanismo, 4 estudantes da Pós-Graduação em Arquitetura e Urbanismo, 1 estudante de Pós-Graduação em Engenharia e Gestão do Conhecimento e duas profissionais em Arquitetura e Urbanismo, além de dois professores do Departamento de Arquitetura e Urbanismo da Universidade Federal de Santa Catarina. Foram 99 inscrições realizadas e homologadas por meio do Sistema “Inscrições UFSC”, de 12/02/2020 a 22/02/2020. O “II Ciclo de Oficinas GMA” contemplou um evento de extensão de abertura realizado por meio de uma mesa redonda com o tema “Inovação e Arquitetura”, além de 12 Cursos de Extensão, todos gratuitos e realizados de forma remota pela ferramenta Google Meet. Foram 212 inscrições realizadas e homologadas por meio do Sistema “Inscrições UFSC”, de 18/01/2021 a 22/01/2021. No evento de abertura foi debatido como ocorre a inovação na área da arquitetura, além da aplicação de tecnologias de projeto e de construção, mostrando novas formas de se pensar a arquitetura nos campos social e econômico. O evento foi organizado em parceria com a startup Think&Make e contou com a presença de três convidados externos à Instituição de Ensino Superior e uma integrante da startup como mediadora. Os doze cursos de extensão realizados contemplam os seguintes temas e cargas horárias: (a) A geração de formas na composição paisagística: composição em lógica criativa (8hrs); (b) Introdução à ferramenta BIM Graphisoft Archicad (8-16hrs); (c) Introdução à ferramenta BIM Autodesk Revit (8-16hrs); (d) Ateliê Pescarte - Cultura, Projeto & Paisagem: A pesca artesanal estruturando espaços (4hrs); (e) Introdução à modelagem paramétrica com Grasshopper (8hrs); (f) Introdução à análise do clima e componentes de simulação com Grasshopper (8hrs); (g) Introdução à programação com Python em ambiente de modelagem paramétrica (8hrs); (h) Introdução à programação com C# em ambiente de modelagem paramétrica (8hrs); (i) Avaliando Espaços Criativos: avaliação de parâmetros de bem-estar e produtividade no espaço de trabalho; (j) Introdução à maquetes de papel com processos automatizados (8hrs); (k) Running Drawing - Mídias digitais e a percepção urbana (8hrs); e (l) Design Fiction para Arquitetura e Urbanismo (20hrs). Todos os cursos foram divulgados nas redes sociais (https://www.instagram.com/gma.ufsc/) e sites do GMA (https://www.gmaufsc.com.br/ciclo-de-oficinas-2021). Os instrutores dos cursos são 4 estudantes da graduação em Arquitetura e Urbanismo, 5 estudantes da Pós-Graduação em Arquitetura e Urbanismo, 1 estudante de Pós-Mestrado no Programa de Pós-Graduação em Engenharia Civil, 1 estudante de Pós-Graduação em Engenharia do Conhecimento e três profissionais em Arquitetura e Urbanismo, além de dois professores do Departamento de Arquitetura e Urbanismo da Universidade Federal de Santa Catarina. Quanto à adaptação às áreas de difusão BIM propostas por Succar (2015), essa experiência enquadra-se principalmente nas políticas de integração e colaboração entre diferentes áreas da educação superior e no desenvolvimento de competências individuais básicas níveis operacional, técnico e pesquisa e desenvolvimento. Esta ação de extensão promove a interdisciplinaridade pela organização envolvendo estudantes de diferentes Departamentos desta Universidade e níveis de formação (Graduação e Pós), além de envolver profissionais da área, contribuindo para a formação dos estudantes. Além disso, a realização destes cursos para a comunidade envolve a articulação com o ensino e a pesquisa. Apresentação no YouTube: https://youtu.be/itFFVQEwsYc

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