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L’étude explore les différentes composantes, anthropologiques aussi bien que littéraires, du rapport entre l’émotion du public et l’émotion des personnages. Cette problématique est au cœur du fonctionnement des chansons de geste qui reposent sur un paradoxe : susciter la peur par la description de faits violents et de protagonistes terrifiants, tout en célébrant l’intrépidité de leurs héros. La distance entre le public et les personnages relève en partie de raisons idéologiques : la représentation de figures inquiétantes cristallise l’angoisse collective sur des cibles désignées par les institutions dominantes, tandis que le déni de la peur par les héros participe à la construction d’une image idéalisée de la chevalerie. Par ailleurs, au-delà du lien entre les œuvres et leur contexte historique, la recherche d’un effet de peur procède d’une poétique spécifique. Ce sentiment soude l’auditoire dans l’inquiétude et dans l’admiration, permettant l’exaltation épique et la glorification du courage héroïque. La sublimation de la peur tient à une esthétique de la terreur qui transforme les motifs effrayants en objet de contemplation et la répulsion en attraction. Grâce à cette transfiguration du réel, le public peut opérer un transfert psychique qui confère aux textes une dimension cathartique. Les actions des héros impavides jouent ainsi le rôle d’exutoire pour les pulsions refoulées, et les poèmes contribuent à conjurer l’anxiété liée aux tensions et aux crises de la société féodale. / This work explores the various components, from an anthropological as well as a literary point of view, of the relationship between the emotions of the public and the emotions of the characters. This problem is at the heart of epic texts, which are based on a paradox: to create fear through the depiction of violent events and frightening characters, while celebrating the fearlessness of their heroes. The distance between the audience and the heroes is due to ideological reasons: on the one hand, the representation of disturbing figures crystallizes collective dread on targets designated by the dominant institutions, on the other hand, the heroes’s denial of fear by heroes allows the construction of an idealized image of chivalry. Moreover, beyond the link between the texts and their historical context, the search for a fear effect proceeds from a specific poetics. This emotion enables the epic exaltation and glorification of the hero’s courage by bringing the audience together in the same feelings of worry and admiration. The sublimation of fear depends on an aesthetics of terror which turns the reasons for fear into an object of contemplation and the attraction into repulsion. With this transfiguration of reality, the audience can make a psychic transfer which gives the texts a cathartic dimension. The feats of intrepid heroes are an outlet for repressed instincts, and the poems help to exorcise the dread related to tensions and to the crisis of feudal society.

Often hailed as “China’s Stephen King,” Chinese psychological suspense author Cai Jun occupies a position at the peak of the new wave of young authors flooding China’s popular literature market. In order to understand Cai’s popularity as an author, the impact his works and writing have on this market, and how he creates his particular brand of suspense fiction, it is both necessary to put his works into a larger context and analyze his writing. This thesis provides a brief overview of the recent literary scene in China, from the rise of internet literature and the comeback of genre fiction to the advent of mooks, the evolution of young adult literature, and the development of the author marketing industry, and also addresses the “pure vs. popular” controversy in China’s literary world, identifies how Cai fits into these trends, and determines who Cai is as a writer in terms of genre, story content, and literary reception through the translation and analysis of Cai’s short story “Kidnapped.”

This paper will examine the production of the thesis film, Capshaw Ravens. I will analyze the production process from development to post-production, and determine if I achieved my goal of creating a short film with concept, character, and conflict.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of English, General Literature and Rhetoric, 2008. / Includes bibliographical references.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente / Made available in DSpace on 2012-10-19T21:48:11Z (GMT). No. of bitstreams: 0 / A análise da construção do suspense através da manipulação do espaço e do tempo em duas adaptações cinematográficas de Alfred Hitchcock, A Janela Indiscreta e Os Pássaros. Propõe que os filmes mostram uma articulação entre tempo e espaço que parece aumentar o suspense dos contos nos quais foram baseados e que o aumento do suspense é criado por elementos como o privilégio à montagem e o modelo clássico de cinema. A relação entre espaço, tempo e tema, isto é, entre forma e conteúdo, subjaz à leitura dos filmes. Considera-se que no processo de adaptação o filme adquire um significado independente através das inescapáveis e essenciais diferenças da obra literária. Assim, pretende mostrar que os contos, apesar de sua própria articulação entre tempo e espaço, não produzem a quantidade de suspense criada no filmes, devido a uma série de fatores que vão da edição e da mudança de meio e propriedades ao estilo Hitchcockiano.

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T18:48:00Z (GMT). No. of bitstreams: 1 Peron_MauroLuiz_D.pdf: 14030018 bytes, checksum: 7043dda53b78c6d2a8c953a574a75cf7 (MD5) Previous issue date: 2006 / Resumo: O objetivo desta pesquisa é demonstrar que a atenção de Hitchcock aos confrontos, tanto no tratamento dos temas quanto na construção dos personagens, está presente em diferentes articulações narrativas que desenvolveu, assim destacadas: No primeiro capítulo, a reflexão objetiva demonstrar que os personagens são construídos de modo a viverem o confronto entre culpa e inocência, e que esse perfil narrativo aciona o espectador perante diferentes inflexões de identificação com os personagens. No segundo capítulo, o objetivo é explorar o mecanismo que articula ocultação e revelação de informações tanto de personagens quanto do espectador, apontando como o diretor radicaliza as relações interrogantes, de engano e de ambigüidades e, nesse particular, como o nexo entre desvendamento e dissimulação aciona o suspense. No terceiro capítulo, a reflexão aponta para duas questões centrais, vinculadas à atenção do diretor para o nexo entre a imagem e o som, como o deslocamento da câmera de um diálogo para depositar-se em outra ação, sem diálogo. Simultaneamente, sua atenção à fonte sonora ganhará destaque, na fase muda e sonora de sua obra, na medida em que o ponto de vista assume ora a posição de ponto de escuta, ora a posição de silêncio. No quarto e último capítulo, a reflexão está centrada na maneira pela qual Hitchcock explora o corpo, de forma a traçar na superfície corpórea um tensionamento de várias ordens, desde a carga de injusta condenação até os desdobramentos morais de seus atos, elaboração que constitui um exercício estético na direção da construção de um corpo que demonstra, em sua presença, em seu gesto e em seu timing, um caráter eminentemente visual e, por isso, cinematográfico. A investigação, ao explorar os diferentes mecanismos narrativos do diretor, aponta para a prioridade visual que conferiu aos confrontos presentes nos temas e personagens eleitos para o seu cinema / Abstract: The objective of this research is to demonstrate that Hitchcock¿s attention to confrontations, both in the treatment of themes and in the construction of characters, is present in different narrative structures that he developed, in this manner highlighted. The first chapter shows that characters are built so as to live the confrontation between guilt and innocence, and that this narrative profile affects viewers through different inflexions of identification with characters.In the second chapter, the objective is to explore the mechanism that integrates the hiding and revelation of information both from characters and from viewers, indicating how the director radicalizes doubtful, misleading and ambiguous relationships and, in this respect, how the link between disclosure and dissimulation feeds suspense. The third chapter goes towards two core questions, related to the attention of the director to the link between image and sound, as the camera moves from one dialogue to set on another action, without dialogue. At the same time, Hitchcock¿s attention to sound sources will gain prominence as the point-of-view is sometimes in the listening position and other times in the silent position, even in his silent movies. Finally, the fourth and last chapter is centered on the way Hitchcock explores the body, outlining on the corporal surface many orders of tension, from the burden of unfair conviction to the moral consequences of one¿s acts, an elaboration that is an esthetical exercise towards building a body that shows, in its presence, in its gestures, and in its timing, an eminently visual feature and, for this reason, cinematographic. The investigation, by exploring the different narrative mechanisms of the director, indicates the visual priority that he assigned to the confrontations present in the themes and characters chosen for his movies / Doutorado / Doutor em Multimeios

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

"Strange Beginnings" is a short story collection consisting of four short stories. Some of these stories go together and some stand alone. All of them aim to evoke something in the reader, whether it be shock, joy, unsettledness, or something more.

The Third Island is a novella about a Puerto Rican woman of Spanish descent who faces her biggest fear—death. Death comes in many forms and for Laura Maria De La Esperanza Castel, it comes in the form of a man with whom she thinks she is in love. Vacationing on an island in the Bahamas, novelist Laura Castel finds that the only way to survive is to overcome her fear and reject being controlled by the figure who is trying to take her. She overcomes many obstacles and is taught about self-sufficiency, the history of repression of minorities groups or of the misunderstood, and the importance of protecting those who are not able to protect themselves.