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Journal articles on the topic 'Suspense fiction'
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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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Mintz, Susannah B. "Crime Fiction and the Knowing of Pain." Literature and Medicine 41, no. 2 (September 2023): 481–502. http://dx.doi.org/10.1353/lm.2023.a921573.
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Abstract: Recent studies of pain have disputed the idea that pain eludes representation in language. Where these have largely focused on the experience of pain, my paper examines the epistemological function of pain in crime fiction, a genre that by definition foregrounds meaning: what and how we know. A good crime story depends structurally on resolution, but its pleasure derives more thoroughly from suspense. Pain would seem to defy those logics; surely we long for its ending, not its persistence. Yet many contemporary detectives do their work in pain, embodying an impossible contradiction between chaos and order. This suggests that pain is somehow integral to the process of knowing, inviting us to rethink pain as disrupting rather than constituting the forward motion of meaning.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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
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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.
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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
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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.
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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.
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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.
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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.
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Gregoriou, Christiana. "Plotting and characterisation in Sophie Hannah’s The Other Half Lives: a cognitive stylistic approach." Journal of Literary Semantics 52, no. 1 (March 29, 2023): 41–60. http://dx.doi.org/10.1515/jls-2023-2004.
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Abstract (Sophie Hannah’s. 2009. The Other Half Lives. London: Hodder). The Other Half Lives both complies with, and departs from, the crime fiction formula or text schema. It features a mystery the specifics of which are unravelled non-chronologically, while its numerous crimes and non-ideal criminals and victims disrupt readers’ world schemas and help enable its surprising effects. Not unlike such fiction, the story’s early happenings feature late in the telling, while many happenings are given from different character perspectives. Both of these help unsettle narrative perspective, and generate suspense, mystery, and readers’ later repairing and replacing of frames. Focalisation and the working and reworking of killing characters’ early depiction are techniques also enabling foreshadowing and misdirection, for readers’ sympathies and prejudices to be manipulated accordingly, and for surprise revelations to prove effective, even when a surprise ending is – given the nature of this genre – only to be expected.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Alobaidi, Shaimaa. "The World of Mystery and Crime: Agatha Christie Techniques." European Journal of Theoretical and Applied Sciences 2, no. 3 (May 1, 2024): 208–14. http://dx.doi.org/10.59324/ejtas.2024.2(3).17.
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And Then There Were None and A Murder is Announced are two prominent works written by the “Queen of Crime” Agatha Christie. While both novels belong to the genre of the murder mystery and detective fiction, the writer employs different literary techniques to build suspense and keep the readers’ engagement until the final scene. Moreover, Agatha Christie also pays great attention to the details of the crime. Providing the audience with certain clues, the writer succeeds to manipulate the reader’s thoughts. Thereby, And Then There Were None and A Murder is Announced are remarkable examples of the murder mystery that is achieved by different literary means making the stories topical literary works.
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Ndamira, Joan Kyarimpa, and Jovuret Kyarimpa. "A Fictional Depiction of the Peculiarities of the African Female Gender Experiences in the Diaspora." East African Journal of Arts and Social Sciences 7, no. 1 (April 22, 2024): 232–46. http://dx.doi.org/10.37284/eajass.7.1.1880.
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The issue of Africans in the Diaspora stretches historically to the time when Africa began having contact with the outside world, particularly the Arabs, Chinese, Turks, and others. Beginning with the 16th to the 18th C, the contacts heightened during the Trans- Atlantic Slave Trade. Thereafter, Africans have found themselves in the Diaspora for many reasons. This has elicited a myriad of reactions to their experiences in the Diaspora. Therefore, the study sought to investigate the fictional depiction of African immigrant experiences in the Diaspora. It was guided by two objectives namely: to establish the fictional depiction of the peculiarities of the African female experiences in the Diaspora, and to investigate the narrative styles adopted to convey these experiences. The focus was on four novels: Americanah (2013), Minaret (2005), We Need New Names (2013), and The Seasons of Thomas Tebo (1986). The study was library-based research. Its significance is in the fact that it gives a snapshot of the two sides of migration- positive and negative. The results revealed that the African female gender faces indescribable discrimination, undergoes the pain of assimilation into the foreign culture, has to work two jobs in order to sustain life in the Diaspora, is always haunted by the fear of aging and having nothing to show for it, plus several other challenges. The diasporic spaces also catalyse character changes in these migrants. As a result, they adopt confusing mannerisms, fail to wish away homesickness, become two-faced hypocrites, are subdued, submissive and in extreme cases – go through a mental breakdown. It was discovered that migrant fiction is narrated through humour, flashback, irony, detailed description, suspense and other stylistic techniques. The study concluded that migration is now a contemporary and central theme in much of African fiction, especially by a new generation of African writers
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Stadelmaier, Philipp. "Unterwegs. Zum Kino von Albert Serra." Zeitschrift für Katalanistik 27 (July 1, 2014): 127–41. http://dx.doi.org/10.46586/zfk.2014.127-141.
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Summary: Marching is an essential element in the films of Catalan director Albert Serra. But, while Don Quichotte and Sancho cross the Mancha and the Three Magi walk through a global desert, their motion is often interrupted, postponed, disturbed. That is why, through Serra’s filmography, the shots become more and more like paintings and still lives. The suspense between motion and immobility in Serra’s cinema indicates something beyond the visible movement, the visible marching and the visible paths (and maybe the visible in general): another hidden motion of the characters, the images and the film, which is still “on the way” to motion – and thus to cinema itself. [Keywords: Albert Serra; Honor de cavalleria; El cant dels ocells; Història de la meva mort; death of cinema; autothanatography; still life; painting; fiction]
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Nuñez Sabarís, Xaquín, Ana Cea Álvarez, and Ana Silva Dias. "Task-based approach and gamification applied to Literature: crime fiction and cultural mapping." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 30 (March 28, 2019): 261–88. http://dx.doi.org/10.17398/1988-8430.30.261.
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This paper explores the possibilities of the literary text as an effective instrument to increase communicative and cultural competence through a proposal of a didactic unit which was built on two didactic perspectives: a task-based approach and gamification proceedings. The target group would be composed of Spanish as a Foreign Language (SFL) students, who belong to the B2 level according to the Common European Framework of Reference for Languages (2001).
This didactic unit is based on the crime fiction entitled La playa de los ahogados (2009), which was written by Domingo Villar originally in Galician language (A praia dos afogados). Later on, in 2015 it was adapted to the cinema. This fact allows us to introduce the transmedia dimension (text and audiovisual) into the project narrative. Along this paper geographical aspects of literature will be unveiled, all of which would result in an effective instrument to deepen into the diversity of the Hispanic culture.
The suspense elements (reached out through different resources such as the creation of real scenarios -Vigo and its surroundings-, a crime, a detective and some suspects), encourage reading through exploratory tasks, whose final aim is to stimulate student´s imagination and creative writing abilities.
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Weik von Mossner, Alexa. "Afraid of the Dark and the Light: Visceralizing Ecocide in The Road and Hell." Ecozon@: European Journal of Literature, Culture and Environment 3, no. 2 (October 6, 2012): 42–56. http://dx.doi.org/10.37536/ecozona.2012.3.2.471.
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The essay is concerned with the ways in which contemporary science fiction films explore the future subjectivities and societies that may result from radical ecological changes, looking at two pertinent examples from two different national traditions: John Hillcoat’s 2009 film adaptation of Cormac McCarthy’s Pulitzer Prize-winning novel The Road (2006), and one of the very few German-Swiss science fiction films with an environmental theme, Tim Fehlbaum’s Hell (2011). It is particularly interested in the relationship between the films’ imagined ecological spaces and the actions of the protagonists of each film on the one hand, and in the relationship between these futuristic diegetic spaces and the contemporary real-life ecological spaces that “play” them on the other hand. Together with the performances of the human actors and the tension and suspense built by the narratives, it argues, the spectacle and insinuated agency of these ecological spaces are centrally responsible for the films’ emotional force and for their ability to engage viewers in stories of global ecocide and human survival. Resumen El ensayo analiza cómo las películas de ciencia ficción exploran las sociedades y subjetividades futuras que pueden surgir de cambios ecológicos radicales, atendiendo a dos ejemplos relevantes de dos tradiciones nacionales diferentes: la adaptación cinematográfica de 2009 de la novela de Cormac McCarthy The Road (2006), ganadora del premio Pulitzer, dirigida por John Hillcoat; y una de las muy escasas películas de ciencia ficción germano-suizas de temática medioambiental, Hell (2011) de Tim Fehlbaum. Se presta especial interés a dos aspectos: por un lado, la relación entre los espacios ecológicos imaginados en las películas y las acciones de los protagonistas de cada película; y por otro lado, la relación entre estos espacios diegéticos futuristas y los espacios ecológicos reales que los representan. Junto con la interpretación de los actores humanos y la tensión y el suspense que construyen las narraciones, el espectáculo y la agencia insinuada de estos espacios ecológicos son en gran medida responsables de la fuerza emocional de las películas y de su habilidad para implicar a la audiencia en historias de ecocidio global y supervivencia humana.
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Grass, Günter. "“To Be Continued …”." PMLA/Publications of the Modern Language Association of America 115, no. 3 (May 2000): 292–300. http://dx.doi.org/10.2307/463450.
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Having made this announcement, nineteenth-century works of fiction would go on and on. magazines and newspapers gave them all the space they wished: the serialized novel was in its heyday. While the early chapters appeared in quick succession, the core of the work was being written out by hand, and its conclusion was yet to be conceived. Nor was it only trivial horror stories or tearjerkers that thus held the reader in thrall. Many of Dickens's novels came out in serial form, in installments. Tolstoy's Anna Karenina was a serialized novel. Balzac's time, a tireless provider of mass-produced serializations, gave the still-anonymous writer lessons in the technique of suspense, of building to a climax at the end of a column. And nearly all Fontane's novels appeared first in newspapers and magazines as serializations. Witness the publisher of the Vossisiche Zeitung, where Trials and Tribulations first saw print, who exclaimed in a rage, “Will this sluttish story never end!”
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King, Rob. "Introduction." Crime Fiction Studies 4, no. 1 (March 2023): 1–12. http://dx.doi.org/10.3366/cfs.2023.0081.
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This introduction offers an overview of the life and work of Cornell Woolrich, with a particular focus on his place within the crime-fiction mediascape of mid-twentieth-century America. During his lifetime, Woolrich's novels and short stories were adapted at least twenty-one times by Hollywood filmmakers, forty-three times for US television, and seventy-one times for radio. His importance within what Frank Krutnik has called the ‘culture of suspense’ in 1940s and 1950s America – as well as to the specific formation of film noir – is a given. Yet Woolrich remains an obscure figure in comparison with ‘hard-boiled’ authors like Dashiell Hammett and Raymond Chandler. This introduction seeks to account for that discrepancy in terms of the different position Woolrich occupied within the era's hierarchies of literary value. It also explores the oft-noted cinematic quality to Woolrich's prose, and the relation of his work to the films of Alfred Hitchcock, whose 1954 Rear Window remains the best-known adaptation of Woolrich's work.
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Gon, Oleksandr. "PINK FLOYD’S «THE RED VIBURNUM IN THE MEADOW»: A NOVEL IN THE SCORE." CONTEMPORARY LITERARY STUDIES, no. 20 (December 20, 2023): 23–29. http://dx.doi.org/10.32589/2411-3883.20.2023.293536.
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The paper explores the design and structure of Pink Floyd’s single «Hey Hey Rise Up» in terms of a patterned plot in a work of fiction. The music and video of the single are contextualized in the field of comparative studies and problematized as a feasible intersemiotic approach to musical narrativity. The introduction by the folk choir in the video functions as the exposition to the main theme, and its break on D-sharp with the fermata functions as the tense suspense in a frustrated anticipation of the resolution into the tonic of C-sharp minor. Following a two-beat rest, the dignified drums propel the syntax of the story of Ukraine’s heroic resistance against the Russian aggression into the structured artistic plot. Based on the pentatonic scale, David Gilmour’s guitar solo emblematizes other components of both literal and literary dramatic conflict: the highest notes represent the semanticized rising action leading to a “blue note” of F double-sharp that signifies the tension and climax in the musical plot. Gilmore’s musico-teleological tale ends with a descending scale that seems to be the equivalent to the falling action in drama, and finally resolves into a half, rather than full, cadence in G-sharp as if to suggest an open, brighter and victorious finale of yet-to-come resolution of the Russia-Ukraine war. A close musicological reading of the functioning of the harmonic sequences of cadences and the specifics of voice leading in the single reveals the musical artistic means of generating deep meanings and emotional understanding of history. Interpreted through the prism of intersemiotic scheme as emplotmet, the musical narrative has the attributes of a literary work - the beginning, development and suspense of the action, climax of dramatic conflict and its denouement. The paradigmatic affinity of narrative techniques in fiction and music brings new urgency to such fundamental ideas as Borgesian four invariant stories, which are recycled in various historical and ideological guises, or Bakhtinian distinction between the epic and the novel as a territory of encounter with the unfinished present, which expands the optics of reading the dynamics of consonant and dissonant intervals in the blues scale, and turns the music score into a novel. And vice versa: the function of the blue note in the pentatonic, bright and perfectly consonant five-step system without chromaticism, compels us to revisit Nietzsche and his philosophico-musical revelation about the interdependence of Apollo and Dionysus.
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Shyshkina, Iryna. "THE STYLISTIC PECULIARITIES IN THE CREATION OF HUMOR IN A. BRADLEY'S NOVEL "SWEETNESS AT THE BOTTOM OF THE PIE"." English and American Studies, no. 20 (June 23, 2023): 163–72. http://dx.doi.org/10.15421/382320.
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The article is focused upon the analysis of stylistic means, devices by which Alan Bradley achieves the comic effect in the novel “Sweetness at the Bottom of the Pie”. In recent decades, the problem of creation of comic and linguistic means of its expression in works of fiction has been the object of attention of many researchers. However, until now, the linguistic and stylistic devices used by the authors of humorous texts to create a comic effect and express an individual worldview position have not been sufficiently studied, since the researchers focused mainly on the literary aspect, the peculiarities of the comic worldview, the structural and compositional organization of humorous works. Semantics and stylistics remain outside the attention of linguists. As a result, the detailed consideration of linguistic means of expression, used by Alan Bradley in the novel “Sweetness at the Bottom of the Pie” to create a humorous effect, is in the scope of this article. The main stylistic devices are represented by simile, hyperbole, metaphor and suspense.
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Shuhaib, Mahdi. "Foreshadowing Overuse." Al-Adab Journal, no. 149 (June 15, 2024): 1–18. http://dx.doi.org/10.31973/vhx0xd55.
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As a descriptive study, this article examines the significance of stylistic analysis in observing fiction, focusing on the use of foreshadowing. The author investigates the potential overuse of foreshadowing in selected modern cultural novels and analyses its impact on the plot and the suspense of the readers. The study examines the use of foreshadowing to deconstruct the difficulty novelists face in crafting immaculate works. It concludes that foreshadowing is an integral part of any literary work, regardless of its type or genre, and that it cannot be restricted to particular words. Furthermore, the "tense" factor in most modern works is not fixed or regulated due to the overuse of the flashback technique. The discussion examines Mr. Dalloway by Virginia Woolf and A Portrait of the Artist as a Young Man by James Joyce. Mrs. Dalloway's linguistic variables demonstrate that foreshadowing predominates the plot, as Woolf's foreshadowing lexis continually alludes to Septimus and Clarissa's plight. A Portrait of the Artist as a Young Man heavily uses concrete lexemes to foreshadow Daedalus’ evolution, whereas Mrs. Dalloway focuses on speech and abstract lexemes.
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Ali, Muhammad Ilham, Sabrina Wardhatul Jannah, Herminus Efrando Pabur, and Yayu Anggraini H. Katili. "Thrilling Encounters in Social Settings: A Retelling of The Eyes of Darkness by Dean Koontz." Tamaddun 23, no. 1 (June 10, 2024): 98–113. http://dx.doi.org/10.33096/tamaddun.v23i1.705.
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This study analyzes the social situations depicted in the novel "The Eyes of Darkness" by Dean Koontz, focusing on themes such as abuse, thriller elements, tragedy, mental health, and the virus. Using a descriptive-qualitative approach, we delve into the novel's narrative to uncover how these themes are portrayed and their implications on the characters and broader societal reflections. The analysis reveals that the novel intricately weaves these social situations to create a compelling story that resonates with real-world issues. Abuse is depicted through the misuse of power and its devastating consequences, while thriller elements introduce suspense and supernatural occurrences that challenge characters' perceptions of reality. Tragedies highlight the unpredictability of life and the resilience needed to overcome adversity. The exploration of mental health, particularly through the character of Tina, emphasizes the impact of grief and trauma and the journey towards healing. Lastly, the portrayal of the virus, notably the Wuhan-400, offers a chillingly prescient reflection of global pandemics, underscoring the ethical considerations in scientific research. This study highlights the novel's relevance in addressing complex human experiences and societal issues, offering valuable insights into the interplay between fiction and reality.
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Lomakina, I. N., and E. V. Polkhovskaya. "DONNA TARTT’S POETICS OF THANATOS (BASED ON THE NOVEL “THE SECRET HISTORY”)." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (May 7, 2020): 352–57. http://dx.doi.org/10.35634/2412-9534-2020-30-2-352-357.
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The aim of the current research is the study and description of the literary depiction of death in Donna Tartt’s fiction. The death in the work under consideration is not only presented at the textual levels of themes, ideas, and images, it also fulfils a plot-forming function, it defines the chronotope and the narrative peculiarities of the novel. Inclusion of the gloomy landscape descriptions in the novel contributes to the suspense creation. The dichotomies of “Chaos - Cosmos” and “Eros - Thanatos” determine the basic plot collisions of “The Secret History”. The use of the psychoanalytical approach made it possible to reveal the archetypes of Shadow (Henry Winter) and the Wise Old Man (Julian Morrow) in the novel. The indirect characterization is realized due to Donna Tartt’s depiction of the heroes’ attitude to death and crime. The novelist’s Postmodern play consists in the inclusion in the story the instance of “the unreliable narrator” that raises doubts about the veracity of Richard Papen’s account of the crime. The detailed description of the crime scenes and the murders contributes to the creation of the tense atmosphere. In order to depict the death Donna Tartt uses such key images as ‘permanent darkness’, ‘a muddy pit’, ‘fallen leaves’, ‘the cold and empty sky’, ‘dreary twilights’, ‘strange, tremulous sadness’.
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Kislyakova, Evgenia, Sergey Grinev-Grinevich, Elvira Sorokina, and Sanya Madzhaeva. "Communicative Category of Alterity: Linguocultural and Linguoecological Properties." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 1 (April 2023): 151–61. http://dx.doi.org/10.15688/jvolsu2.2023.1.12.
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The aim of the article is to give an in-depth insight into alterity as a communication category in the cognitive and discursive aspects. Being an indispensable part of communication and cognition, the category has its own meaning presenting the communicative interaction within the frame "I – the Other". The category of alterity has its own set of category properties, which are specified uniquely in different languages. Alterity as a linguistic category may express an outlook on the reality (similar, i.e. familiar, devoid of risk: other, different, vague, evidently evoking fear or curiosity). In the Russian language, it is linked to the emotional clusters of curiosity, fear, suspense, whereas in the English language it is associated with curiosity, admiration, surprise and novice. Alterity is characterized similarly in English and Russian through maintaining such features as dissimilarity, variety, multifariousness, belonging to different classes/groups, distinct opposition. As well as common features, alterity manifests culturally specific meanings in English (being eccentric, revolutionary, new, fresh) and Russian (being funny and incongruous). The article includes a description of the linguistic means and communicative strategies and tactics, with the help of which the category of alterity is realized in fiction. The category content is variable in the discourse and it serves ground for the ecological and non-ecological mode of communication.
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Kuzmičová, Anežka, Anne Mangen, Hildegunn Støle, and Anne Charlotte Begnum. "Literature and readers’ empathy: A qualitative text manipulation study." Language and Literature: International Journal of Stylistics 26, no. 2 (May 2017): 137–52. http://dx.doi.org/10.1177/0963947017704729.
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The alleged crisis of the humanities is currently fueling renewed interest in the affective benefits of literary reading. Several quantitative studies have shown a positive correlation between literary reading and empathy. However, the literary nature of the stimuli used in these studies has not been defined at a more detailed, stylistic level. In order to explore the stylistic underpinnings of the hypothesized link between literariness and empathy, we conducted a qualitative experiment in which the degree of stylistic foregrounding was manipulated. Subjects ( N = 37) read versions of Katherine Mansfield’s “The Fly,” a short story rich in foregrounding, while marking striking and evocative passages of their choosing. Afterwards, they were asked to select three markings and elaborate on their experiences in writing. One group read the original story, while the other read a ‘non-literary’ version, produced by an established author of suspense fiction for young adults, where stylistic foregrounding was reduced. We found that the non-literary version elicited significantly more ( p < 0.01) explicitly empathic responses than the original story. This finding stands in contradiction to widely accepted assumptions in recent research, but can be assimilated in alternative models of literariness and affect in literary reading. We present an analysis of the data with a view to offering more than one interpretation of the observed effects of stylistic foregrounding.
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Kennedy, Meegan. "THE GHOST IN THE CLINIC: GOTHIC MEDICINE AND CURIOUS FICTION IN SAMUEL WARREN'SDIARY OF A LATE PHYSICIAN." Victorian Literature and Culture 32, no. 2 (September 2004): 327–51. http://dx.doi.org/10.1017/s106015030400052x.
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IN 1856, WHEN MANY VICTORIAN PHYSICIANS WERE STRUGGLING TO DEFINE A MODEL OF CLINICAL MEDICINE, the reviewer of one collection of case histories voiced his dismay at the physician-author's preference for “dreadful incidents” and “cases exceptional and strange” (“Works” 473). Indeed, although physicians of the clinical era did not disguise their efforts to achieve a new kind of discourse, productive of a “realist” vision, few acknowledge how often the “clinical” case history of the nineteenth century also shares the romantic discourse of the Gothic, especially its interest in the supernatural and the unexplainable and its narrative aim of arousing suspense, horror, and astonishment in the reader. Literary critics have also focused primarily on the association of medical narrative with a realist literary discourse. Nineteenth-century physicians did campaign for the formal, objective, and professional clinical discourse that serves as their contribution to a realist aesthetic, in the process explicitly rejecting eighteenth-century medicine's fascination with “the curious” and its subterranean affiliation with the unknown, the unexplainable, and the subjective. But, as I show in this article, a discourse of “the curious,” allied with a Gothic literary aesthetic, stubbornly remained a critical element of many case histories, though it often presented under the mask of the more acceptable term, “interesting.” The discourse of Gothic romance in the case history provides a narrative frame that, unlike the essentially realist clinical discourse, could make sense of the physician's curious gaze, which had become nearly unrecognizable as a specifically medical vision. Indeed, a “curious” medical discourse haunts even case histories of the high clinical era, late in the century; and it energizes the nineteenth-century Gothic novel. Samuel Warren's novelPassages from the Diary of a Late Physician–deplored in the quotation above–illuminates this tradition of “Gothic medicine” as it plays out in the nineteenth-century novel. This tradition, I argue, provides the novel with a powerful model of cultural contamination and conflict in its yoking of disparate discourses. Gothic medicine demonstrates the importance of clinical medicine to literary romance, and it cannot help but reveal the ghost of “the curious” in the clinic.