Suspense

John Lacy’s Sir Hercules Buffoon (1684) provides one of the earliest instances of audience deception in the history of English drama. This essay analyses the effects that deception may have had in the Restoration audiences in terms of their involvement in the events of the plot, then attempts to explain why Lacy might have deemed it useful to apply such a radical resource. Deception is thus considered with regard to both the conditions of Restoration farce in the first half of the 1680s and the rapport that Lacy, as a farceur, may have sought to enhance in his relationship with his audiences.

This paper aims to shed some light both on the role that multilingualism plays in Alfred Hitchcock’s films and on the semiotic implications it has in the construction of the distinctive feature of his filmography, namely suspense. Through a diachronic analysis of the evolution that multilingualism undergoes from the director’s early production of the 1930s to the end of the 1960s, when the universally acknowledged “master of thrill" directed Torn Curtain (1968), his most well-structured multilingual film, three main functions of multilingualism in Hitchcock’s films will be identified and discussed: realistic rendering, conflict, and confusion. If realistic rendering is intended as a means to enhance viewers’ perception of the reality depicted on screen, particularly if the story has an “international” setting with characters coming from different parts of the globe, conflict as well as confusion of languages and lingua-cultural identities both become strategies to produce the distinctive feature of Hitchcock’s films: suspense. The presence of so-called “secondary languages” will also lead to the analysis of the different translational solutions and techniques used to handle them in the original version of the fourteen films taken into consideration in this study.

Using the comparative historical and retrospective methods the authors of the article investigate six
poetic texts written between 1790 and 1805 by I. I. Dmitriev. All these works display the traits of the ballad and can be considered the ultimate texts for the Russian ballad genre at the preromantic stage of its development. The purpose of the article is to define the general concept of the ballad genre, in a way that it could be perceived by Dmitriev, and to reveal specific ways of its implementation. One of these ways was the creation of a “hybrid”, for example, of a narrative poem and a ballad. Dmitriev’s poem “Ermak” is one of such “hybrids”, with some characteristics of the ode as well. In three Dmitriev’s “true-story ballads” it is possible to see the signs of the parable, the melodrama, and the novella. The “novelistic true story” based on social material without addressing the “miraculous” or the fantastic attracted Dmitriev’s particular interest. Gradual shift from the attributes of other genres resulted in the birth of the unique Russian ballad based on national (both historical and modern) material, with Dmitriev’s “Ancient love” (1805) being one of the examples of such “genuine” ballad. Surprisingly, Dmitriev very quickly realized that the evolving ballad genre had rich potential for parody (“Retired sergeant”). In all his ballads, Dmitriev consistently used the suggestive technique, in particular suspense – the creation of an anxious, tense atmosphere or fear with the help of both verbal and extralinguistic means. All Dmitriev’s balladoids are connected by the subject of death, the interest in which became a cultural phenomenon of the era of sentimentalism and preromanticism. The signs of the early Russian ballad and ballad “techniques” established in the article will allow to include into the “ballad context” of the turn of the XIX century more works than is now accepted by scholars.

Un Monde d’Ombre Fascine
LA FASCINATION DE L’OMBRE
Une Ombre Traverse l’Azur
1 Ciel Vaut Mieux que 2 Edens
Grille les Ondes de l’Olympe
Xibalba et Walhalla en Direct

https://www.youtube.com/user/DrJacquesCOULARDEAU

TOUT CE QUE LA RADIO RECÈLE
À N’EN JAMAIS PLUS FINIR

In entrepreneurship, we hear about the value of ‘embracing uncertainty and failure,’ given what can be learned ex post.  Instead of relying on ex post learning, this article examines the ex ante emotional condition of suspense generated in situations involving outcome uncertainty. I investigate cognitive conditions under which entrepreneurs experience suspense, and under which they enjoy it.  Empirical analysis reveals that some determinants of suspense felt by an audience (e.g. while watching a movie) are the same ones that determine suspense felt by entrepreneurs in their own lives. For example, the suspending of belief (e.g. ignoring one’s own schemas) plays a role in both contexts. However, neither hope nor fear or their interaction appear to drive the typical entrepreneur’s felt suspense. Besides developing a concept of entrepreneurial suspense, I relate the notion of suspense to six different areas of the entrepreneurship literature: goal-setting, risk-seeking, entrepreneurial temporality, imagination, overconfidence/optimism, and failure.

The story of a crime, and and an examination of the dynamics of research institutions.

A gruesome murder is committed at a research institution, and at the same time a young woman goes missing. Could this be connected to an old folktale? And how does paternity fit in?

The detectives Bjarni and Kristín from 'Útlagamorðin' have their hands full with this complicated crime.

On remarque que Terminator 2 reprend le même système de mise en scène présenté dans le premier opus dès la scène du nightclub, à savoir celui de la spiralisation. Avec l'aide du schéma de montage, on analyse ici quelques points caractérisant ce système.

Conférence du mercredi 16 janvier 2019 à la bibliothèque centrale de Tours

La série télévisée La Casa de Papel a commis le hold-up du début d’année 2018. C’est un hold-up car l’on peut montrer que la série innove peu mais reprend surtout les recettes cinématographiques du genre du thriller criminel et plus précisément du sous-genre du film de braquage en y mélangeant des éléments de thriller politique mais aussi et surtout de soap opera. Reste à savoir ce que le succès d’une œuvre de ce genre peut vouloir dire de nous qui l’avons appréciée… A cette fin, l’exposé mobilise des éléments de philosophie du cinéma relatifs aux notions de genre cinématographique, de suspense et d’identification aux personnages.

Working as a maid at the luxury Napoli hotel on the Vegas strip, Jessica James finds a naked man unconscious in a bathtub with a note to call 911.

With only an old photograph to go on, Jessica James is sent on a mission by her dying mother to find a washed-up magician called the Mesmerizer. Along the way, Jessica gets way more than she bargained for when she stumbles into a black market organ ring and learns secrets about her mother that will change her own life forever.

Jessica is shocked by her mother's "deathbed" confession that the man Jessica thought was her father is not. Her biological father is some magician dude that passed through Whitefish twenty-five years ago. Why does Jessica's mother insist on seeing him again? How far will Jessica go to find him and bring him back? 

Jessica arrives in Las Vegas penniless and with nowhere to turn. She tracks down an old high school friend, Mackenzie, and crashes on her couch. But Kennie Czarnowski is not what she seems. And the price of a place to sleep may cost Jessica everything. Jessica learns the hard way that in Vegas, the stakes are high and everyone is an illusionist.

With wit and grit, Jessica and her posse take on the seamy underbelly of Vegas. Dauntless, determined, and awkwardly endearing, Jessica James continues to delight readers.

Once JACKAL gets its hooks into you, you won't be able to put it down.


“Grab the reins and hang on tight for another wild and crazy ride with cowgirl philosopher Jessica James as she makes her way through the sleazy glitz of Las Vegas where everybody’s packing heat and corruption is business-as-usual. Nobody tops Kelly Oliver for delivering fast-paced narrative, quirky characters, and a plot as twisty as a bucking bronco—all of this leavened with Oliver’s trademark wry humor.”
—Caroline Taylor, author of Loose Ends and The Typist

“Vegas is the perfect setting for this intriguing and entertaining thriller where every character is a master of illusion. The novel begins with Oliver's dogged and witty protagonist, Jessica James, on a quest to find her birth father, a magician that has performed a seemingly permanent disappearing act. She enlists the help of an old friend, whose Facebook profile proves a cover for a dangerous job that soon threatens everyone around her. Oliver knows how to keep ratcheting up the stakes until the reader feels like they have their own mortgage riding on the roulette wheel.”
—Cate Holahan, USA Today best selling author of The Widower’s Wife.


"Great cast of characters. A smart and sexy high stakes trip to Las Vegas."
---Tracee de Hahn, author of Swiss Vendetta

In the current study, we explored the hypothesis that the level of language concreteness influences readers' emotional involvement and, thus, fosters the evocation of suspense. To this end, 141 suspenseful texts with comparable content were assessed altogether by 1226 participants on items referring to emotional involvement and suspense. A concreteness score per text was calculated from the ratio between concrete and abstract verbs. Additionally, participants were asked to provide personal data, such as sex, age, or reading habits, and to answer items referring to their ability to feel empathy (trait empathy). Applying a stepwise multiple regression analysis we found that language concreteness is one significant predictor for emotional involvement and suspense (next to affinity for suspense and trait empathy). These results are discussed with respect to their implications on the nature of suspense and on the so-called paradox of suspense.

Private detective Cormoran Strike is a rough, complicated, newly single ex-army police officer with just the right combination of savviness, brutality, bitterness, and emotional baggage. Sleeping on a cot in his office with only one other client and weekly death threats, Strike is in no position to turn down his newest case: a brother who suspects his famed model sister’s suicide—a well-publicized fall to her death from her posh London apartment balcony—was, in fact, cold-blooded murder.

A presente pesquisa aborda a influência do conto literário sobre a construção narrativa da obra cinematográfica de Alfred Hitchcock. Sendo o conto fruto das concepções teóricocríticas e dos modelos ficcionais deixados por Edgar Allan Poe, ao aproximar-se do gênero, Hitchcock ...

Мета статті – простежити авторефлексію Дж. Роллінса на матеріалі масмедійних текстів письменника (інтерв’ю, рецензій і відповідей читачам).
Методи. У роботі використано комплексну методологію. Основною стратегією є рецептивно-комунікативній підхід, що виконує інтерпретаційні функції. Він поєднується з порівняльно-історичним, типологічним, структурно-семантичним методами дослідження.
Результати. У статті здійснено концептуальний аналіз масмедійного дискурсу Дж. Роллінса. Розглянуто деякі аспекти категорії «авторефлексія» для використання її як робочої дефініції дослідження; виявлено точки дотику між жанровими кодифікаціями Дж. Роллінса та традицією національного літературознавства задля вивчення кореляції категорій «трилер» / «конспірологічний роман»; простежено самоідентифікацію Дж. Роллінса в парадигмі американської літератури пригод, зокрема в співставленні з романами Д. Брауна. Виявлено, що творчість Дж. Роллінса продовжує авантюрно-пригодницьку традицію світової літератури – Жуля Верна, Генрі Р. Хаггарда, Герберта Дж. Веллса. З’ясовано, що в синхронії американський письменник ідентифікує себе в міжлітературній комунікації з «ідеальним тріо» : Майклом Крайтоном, Калебом Карром і Деном Брауном. Акцентовано висловлювання Дж. Роллінса щодо типологічної подібності деяких його творів із конспірологічним романом Д. Брауна.
Виявлена кореляція між розумінням трилера в інонаціональних літературознавчих терміносистемах дає змогу ідентифікувати жанрову структуру романів Дж. Роллінса серії “Sigma Forсe” як конспірологічних.
Висновки. У гостросюжетних художніх творах Дж. Роллінса конспірологічний код є одним із тих, що моделюють жанр. У такий спосіб пригодницький та науковий дискурси його романів синтезуються з конспірологічним наративом, що структурований константами : таємниця – змова – розслідування. Вони є наскрізними для таких романів серії “Sigma Forсe”, як «Кістки волхвів» (Map of Bones, 2005), «Ключ Судного дня» (Тhe Doomsday Key, 2009), «Лінія крові» (Bloodline, 2012), «Вінець Демона» (The Demon Crown, 2017). Автор створює новий тип конспірологічного роману, що містить його інваріант, але відрізняється способом вирішення художніх задач.
Ключові слова: рецептивно-комунікативній підхід, авантюрно-пригодницька традиція, інваріант, трилер, детектив, саспенс

The purpose of the article is to trace J. Rollins’ self-reflection on the material of the writer's mass media texts (interviews, reviews and responses to readers).
Methods. The complex methodology is used in the work. The main strategy is a receptive-communicative approach that performs interpretive functions. It is combined with comparative-historical, typological, structural-semantic methods of research.
Results. The conceptual analysis of J. Rollins’ mass media discourse is undertaken in the article. There are some aspects of the category “autoreflection” which are considered for its use as a working definition of  the research; there are points of contact between the genre codifications of J. Rollins and the tradition of national literary criticism which are discovered to study the correlation of the “thriller” / conspiracy novel categories; J. Rollins’ self-identification is traced to the paradigm of American adventure literature, in particular in comparison with D. Brown's novels.
It is revealed that the work of J. Rollins continues the adventure tradition of world literature – Jules Verne, Henry R. Haggard, Herbert G. Wells. In sync, the American writer distinguishes inter-literary communication with the «perfect trio»: Michael Crichton, Caleb Carr, and Dan Brown. J. Rollins’ remarks on the typological similarity of some of his works to D. Brown's conspiracy novel is noted. There is a correlation between the understandings of the thriller in non-national literary terminology systems that is revealed and allows us to identify the genre structure of J. Rollins’ novel series “Sigma Force” as conspiracy novels.
Conclusions. In J. Rollins’ thrilling works, the conspiracy code is one of the genre-modeling. In this way, the adventurous and scientific discourses of his novels are synthesized with a conspiratorial narrative, structured by such constants: mystery – conspiracy – investigation. They are cross-cutting for such Sigma Force novels as Map of Bones (2005), The Doomsday Key (2009), Bloodline (2012), The Demon Crown (2017). The author creates a new type of conspiracy novel containing its invariant, but differs in the way of solving artistic problems.
Keywords: receptive-communicative approach, adventure tradition, invariant, thriller, detective, suspense

Sinopsis Carlos es un simple oficial de policía que es bueno en su trabajo, pero todo eso cambia un día cuando se vuelve objeto de una psicópata que se hace llamar MANTIS, desde que Carlos conoció a esta mujer su vida solo fue de mal en peor, con una dirección hacia la locura. Carlos hará todo lo posible para poner fin a los actos de MANTIS de una vez por todas, aunque eso signifique dar su propia vida. Esta historia nos contara los sucesos que llevaron a Carlos y a Mantis hasta el abismo de la perdición, en un intenso y asombroso viaje lleno de misterio y locura, esta historia no será contada de forma lineal, en cada línea se podrá encontrar solo dos cosas, un misterio del pasado o del futuro o simplemente la aclaración de uno, descubre quien atrapa a quien, si Carlos atrapa a su némesis o la perdición absoluta atrapa a Carlos.

It is not yet too late to embark on some perverse Christmas story à la COVID-19. And you can enjoy as many fat real chestnut logs for this coming Christmas, with some heavy fluid stuff that looks like Canada Dry but is not. This year is the year that stands apart and we will remember it till death us parts, and that might be earlier than you thought.
Be ready for the big voyage overseas.

À travers la scène du nightclub, nous analysons comment durant dix minutes la mise en scène construit un suspense qui ne retombe à aucun moment et ne perd à aucun instant son intensité, notamment par un choix de montage particulier. Également, ce suspense est un outil privilégié par la mise en scène pour porter un discours sur la société ainsi que sur la technologie, à travers l'exemple du Terminator.

"Nunca los deseos habían sido tan reales, tan claros que parecían de carne y hueso."

Sumérgete en un mundo donde los deseos y la realidad confundirán a nuestra protagonista, Lauren, hasta el punto de hundirla allí donde la cordura se mezcla con la locura.
Imágenes caóticas, bocanadas de una demencia surgida de la mente de una joven asfixiada que harán que más de uno se cuestione querer hacer realidad sus deseos más ocultos.

Take the arbitrary death of innocence from “The Rime of the Ancient Mariner,” the desperate pursuit of intangible self-actualization from Moby Dick, and the all-consuming angst and turmoil of a Cormac McCarthy novel, and you will get a sense for what Ethan Rutherford brews in his debut, The Peripatetic Coffin. The set of eight stories does what few short story collections manage in giving readers a series of distinct narrative voices in a variety of suspense-filled predicaments while collectively meditating on a united theme—what it means to be an anti-hero.