“Will my flight be cancelled?” “Will I win the eBay auction?” These consumption and product acquisition situations would trigger the experience of . . . suspense. Suspense is defined as the overall anticipatory arousal associated with the hope and/or fear felt by a consumer assessing the likelihood of occurrence of an important and imminent consumption or acquisition event. If one views a potential outcome as causing pleasure (an approach appraisal), hope will be felt, while if one views a potential outcome as causing pain (an avoidance appraisal), fear will be felt. Other variables expected to indirectly impact suspense are frequency of probability change, degree of probability change and anticipation time. The conceptual model in this dissertation also proposes that people have an attitude toward the anticipation period and identifies four resolution emotions, satisfaction, disappointment, relief, and anguish, which may occur once the outcome is known. Further, attitude toward anticipation period and the resolution emotions are expected to affect attitude toward overall experience. Three studies were conducted. The objective of Studies 1 and 2 was to develop scales yielding reliable scores of hope, fear, and suspense. Fifty words related to hope, fear, and suspense were generated. In Study 1, 553 participants rated the words on the evaluative and activity dimensions using 18 semantic differential scale items. O-technique factor analysis was used to analyze the data in Study 1. In Study 2, 354 participants read one of three suspenseful stories, then indicated their hope, fear, and suspense. Exploratory and confirmatory factor analyses were used in Study 2. Study 3 consisted of an experiment in which 241 participants read a suspenseful house-buying scenario, then indicated their hope, fear, and suspense. Structural equation modeling was used to analyze the data in Study 3. Results supported the conceptualization of suspense: both hope and fear had a positive effect on suspense. Additionally, approach appraisal had a positive effect on hope, and avoidance appraisal had a positive effect on fear. The moderating effect of frequency of probability change was not supported. However, frequency of probability change did have a positive effect on both hope and fear.

L'instant comme l'instantanéité se confrontent à une ambiguïté temporelle. Ils se heurtent à une fragmentation, à laquelle la photographie ne saurait se résoudre. Elle ne saurait se contraindre à une coupe immobile du temps, car le sens ontologique de l'image photographique contemporaine glisse. Il se dérobe à l'ancrage passé, daté et révolu lié notamment à la pensée barthienne et nécessite une redéfinition détachée de la perception mortifère de La Chambre Claire. Il révèle les carences des outils théoriques susceptibles de saisir l'essence de la création photographique. Il nous engage dans une requalification de son élaboration, de sa substance, comme de son étude. Entre déstructuration et restructuration nous défendons une forme susceptible de repousser les bornes de l’instant vers une densité de temps, de drame. Nous composons une situation photographique dont les perspectives troublent, inquiètent, interrogent. Par une poïétique de la dérive, du manque et de l'incertitude, nous constituons un événement carencé. Nous déterminons une circonstance suffisamment pesante pour laisser planer sur l'instant le poids d'une tension. L'instance puiserait ainsi du manque, du doute, un ressort dramatique comme une hypothèse de recherche tournée vers une appréhension, non sans évoquer l'expérience éprouvante liée au défilement des images. / Instant as immediacy confront them with temporal ambiguity. They come up against a fragmentation in which the photography couldn't be resolved. It couldn't be restrained itself to a stationary cutting time, because the ontological sense of contemporary photography slips. It eludes the past, dated and bygone idea linked to Barthes's thought especially and requires a redefinition detached of the deadly perception of the Camera Lucida. It reveals deficiency of theoretical tools open to capture the essence of creative photography. It commits us to an amendment of its elaboration, its substance and its study as well. Between destructuring and restructuring, we defend a form which is able to push away instant limits towards time and drama density. We compose a photographic situation whose prospects trouble, worry, question. We establish a deficient event, thanks to a poietic of drift, lack and a state of uncertainty. We also determine a sufficiently heavy circumstance to let the weight of a tension hang over the moment. So photographic pending would draw from lack and doubt, a dramatic device as a research hypothesis turned towards an apprehension, not without mentioning the trying experience of scrolling images.

[Material:] Uppsatsen analyserar Gun-Britt Sundströms svensköversättning av Charlotte Brontës roman Jane Eyre (1999) och två filmatiseringar från år 1997 och 2011.[Syfte:] Att studera och jämföra vilka gotiska grepp som används i romanen Jane Eyre och filmatiseringarna från 1997 och 2011, och vilka gotiska effekter som dominerar samt om effekterna påverkas när texten blir film?[Teori/Metod:] Uppsatsen utgår ifrån valda gotiska begrepp som: det sublima, terror, horror och spänning (suspense).[Resultat:] Analysens resultat visade att samtliga valda gotiska begrepp och dess effekter finns i samtliga verk. Det sublima och terror är de effekter som visade sig dominera i romanen och filmatiseringarna. Avslutningsvis visade det sig att de gotiska effekterna minskade på grund av filmatiseringarnas komprimerade handling.

A close look at the first literary works in European countries reveals that love stories and the theme of romance took prominence among the authors of the time. French authors are a good example of writers of these love stories. An in-depth study shows that different and/or supporting themes or series of events accompany the main love story in these stories. This trend is supported by Cuddon (1977:758) by emphasizing that in these early writings it was the trend to combine an adventure story aspect with the love story. Lewis (1960:23) supports Cuddon’s view in stating that Chréstien de Troyes was the first writer in France to apply love as a main theme for a love story. Funk and Wagnalls’s New Encyclopedia (1876:344) bears out Cuddon’s idea of combining various series of events (love and moral) in the same writing and explains that a love story should enhance two views of what the writing is about, in this case (a) the love aspect and (b) the moral aspect. The trend of combining themes, where one theme supplements the main theme in the same writing, also exists in Sepedi literature. Examples are Noto-ya-Masogana (Tsebe,1954) and Morweši (Motuku,1969). It will, be important and necessary to explain the love story and the moral story first. Cuddon states that the idea of having a variety of series of events supporting the main theme of the narrative is visible where a love story is a two-in-one narrative, relating love and moral, such as in Sir Gawain and Green Knight (14th C.). This demonstrates the importance of a love story. This fact led Yelland et al (1984:161) to state, in support of the important role of character, that love and moral are evidence of chivalry, such as that found in Morte D’Arthur (Malory,1470). Character or chivalry depicts the impeccable manners of the main characters of the love story. This combination of love and moral can also be seen in Sepedi writing, such as Noto-ya-Masogana (Tsebe,1954), Morweši (Motuku,1969), Tshehlana ya ka (Bosoma,1990) and Sesasedi sa katlego (Kekana,1990). Before proceeding with a discussion on this type of love and moral story, it is important to explain the other types of stories as well. Research by Phala (1999:18) and Abrams (1998:98) describes the idea of character and conduct as what one finds, learns or acquires at home, from the community, society or wherever one finds one’s self. The education acquired in this way gives birth to the basis of character, conduct and behaviour, be it good or bad. This should not be confused with formal school learning, but upbringing which is reinforced by cultural practices, religion and socialization, for example. This influences the complete person, including the soul. A person influenced in this manner becomes complete and can distinguish between good and bad, acceptable and unacceptable, as well as proper and improper, according to place and time. Marggraff (1994:14) stresses this distinction between the two opposing views of good and bad; desirable or acceptable on the one side and undesirable or unacceptable on the other. Groenewald (1994:20) also supports this view of right and wrong, stating that it gives us the understanding that bad, evil and wrong deeds or behaviour displeases the ancestors and can lead to punishment and misfortune for the character concerned. This encourages people to strive towards good deeds. It can, therefore, be concluded that humanity was meant to be and do good. Good deeds, behaviour and conduct are important and should be the goal, as depicted by the main character in the love story. The main character who does wrong things and changes his behaviour to good, is rewarded for being good with happiness, love, success and prosperity in his relationship with his partner. Viewed in this light, the importance of further examining and analyzing the love and moral story will be emphasized. In this type of story, where the main character does wrong things with which the reader does not approve or align himself, the reader’s curiosity will be aroused to read further in order to know what will happen to the main character at the end. Since there is always the anticipated element of punishment and reward for the main character present at the end of these types of love and moral stories, it serves as an attraction and magnet that hold the reader’s interest until the end. It also adds a moral value for the reader. Sepedi authors who write love stories are also on this bandwagon of combining love and moral themes in the same story, such as in Noto-ya-Masogana (Tsebe,1954) and Morweši (Motuku,1969). In order to establish the importance of combining love and moral or behaviour in the same love story, the following have been examined and researched in full: Tsebe’s Noto-ya-Masogana (1954) and Motuku’s Morweši (1969). This will be preceded by taking heed of the research and study results of these works already done by other critics. / Dissertation (MA (African Languages))--University of Pretoria, 2008. / African Languages / unrestricted

Die vorliegende Dissertation behandelt die Fragestellung, inwiefern die Darstellung eines visualisierten zeitlichen Hinweisreizes während einer filmischen Narration einen Einfluss auf die Rezeptionsstrategie aufweist. Die Arbeit basiert auf der von Dolf Zillmann (1971) beschriebenen Excitation- Transfer-Theory, welche im Verlauf der Dissertation um eine Zukunftsdimension erweitert wird. Die ursprüngliche Theorie beruht dabei auf der Annahme, dass die langsamere endokrine Erregungsenergie des Menschen vom schnelleren kognitiven System situationsabhängig interpretiert werden kann. Ferner besagt die Theorie, dass durch die inhärente Trägheit des endokrinen Systems eine Erregungssituation nach einem Höhepunkt weiter andauert. Dies wurde unter Zuhilfenahme von biophysiologischen Messgeräten überprüft. Dabei wurde die prinzipielle Aufmerksamkeitszuwendung der Probanden zur Zeitdarstellung mittels einer Blickbewegungskamera fortlaufend überwacht, während gleichzeitig psychophysiologische Erregungswerte, wie Hautleitfähigkeit und Herzrate, aufgezeichnet wurden. Das Aufstellen von Hypothesen durch den Rezipienten über einen potentiellen weiteren Handlungsverlauf bildet in der Literatur (vgl. Ohler, 1994) einen der Hauptgründe für das Empfinden von Spannung während einer Narration. Dabei verläuft die Auflösung der narrativen Handlung stets zwischen den beiden dichotomen Grenzen einer positiven beziehungsweise negativen Handlungsklimax. Die der Arbeit zugrundeliegenden Überlegungen gehen davon aus, dass die Existenz einer visualisierten Zeitangabe dazu führt, dass spezifische Hypothesen über den narrativen Verlauf einer Handlung unter Aspekten des eigenen Zeitempfindens nicht länger realisierbar erscheinen. Je mehr sich die zeitliche Indikation dem Ende annähert, desto stärker ist demzufolge das Spannungsempfinden ausgeprägt. Hierzu zeigte sich, dass unter bestimmten Umständen eine Bereitschaft bei den Rezipienten existiert, die temporale Information in die Rezeption einzubeziehen. Die Auswirkungen auf das Erregungsniveau fielen insgesamt jedoch sehr gering aus. Demzufolge wird angenommen, dass eine zeitliche Visualisierung einen Einfluss auf die Informationsverarbeitung bei einer Filmrezeption hat. Dies konnte jedoch, wie die kritische Diskussion zum Abschluss der Dissertation aufzeigen wird, im Rahmen des verwendeten Designs nicht gezeigt werden.

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

Berättelsen "Handelsresande Bredners försvinnande" är ett mysterium som tar läsaren till 1920-talets Västergötland. Huvudkaraktären Jonna Sahlin får under ett besök på pensionat Morgonstund höra talas om en gäst, Georg Bredner, som försvann spårlöst år 1928. Tillsammans med sin familj börjar hon nysta i mysteriet för att ta reda på vad som hände Bredner den där varma sommardagen för länge sedan. Handlingen, som utspelar sig på den fiktiva platsen Björketorp på den västgötska landsbygden, är en kombination av mysrysare och pusseldeckare, med övernaturliga inslag. / "The disappearance of Georg Bredner" is a mystery that takes the reader back to 1928. During a lunch at a guesthouse, the main character Jonna Sahlin, gets to hear about a guest who disappeared without a trace. Together with her family she begins to unravel what happened to Bredner that warm summersday long ago. The action, that takes place in Björketorp, a fictional place in the westgothic countryside, is a combination of a thriller and a detective story.

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Minnets bleka längtan är tänkt som en första bok i en serie om två, eventuellt tre böcker. Frank blir av med sitt hundspann under en snöstorm och tar skydd i en övergiven stuga. Där hittar han en väldigt nedkyld och medtagen kvinna som sitter fast med en handboja vid en fastgjuten stålstång.Han räddar till sist hennes liv genom att kapa av hennes ena hand. Frank brottas sedan med att få både sig själv och kvinnan att överleva, med de moraliska betänkligheterna som följer när han utvecklar känslor för kvinnan och även skuldkänslorna från handkapningen. Det är en kamp att få den medvetslösa okända kvinnan att klara av infektionen och nedkylningen, men till sist vaknar hon upp, dock utan minne av vad som har hänt henne eller vad hon heter. Kvinnan vet inte hur hon ska känna. Fast hon får starka känslor för Frank, så är hon inte säker på om han egentligen är personen som lämnat henne att dö där ute, eller om han verkligen är hennes räddare. Dessutom stryker det vilda djur runt stugan som spär på hennes rädsla. Är Frank verkligen den han säger? Vem har lämnat Mariam att dö i ödemarken? Kommer den eller de komma tillbaka och vad händer i så fall? Är det möjligt för dem att rädda sig själva? Hur ska de fortsätta tillsammans i så fall? Kommer Mariam någonsin återfå minnet och vad kommer då att hända?

Jonna Sahlin är bosatt i Björketorp, en fiktiv plats på den västgötska landsbygden. Hon har mediala gåvor och det händer att hon stöter på andar av personer som inte lyckats att ta sig till ljuset, utan blivit kvar på jorden. I Den trefaldiga änkan möter hon Ingeborg Broms, en ande med ett väldigt mörkt förflutet. Med hjälp av familj och vänner går Jonna till botten med vad som hände under Ingeborgs livstid.      Parallellt med efterforskningarna får läsaren följa hur karaktärernas relationer utvecklas och fördjupas. Jonna väntar tvillingar med sambon Christer och kämpar med att få honom att dra ner på sitt jobbande. Samtidigt förbereder hon sig mentalt på att ta farväl av sin mormor, som befinner sig i det sista stadiet av Alzheimers sjukdom. / Jonna Sahlin lives in Björketorp, a fictional place in the Västergötland countryside. She has medial gifts and it happens that she encounters spirits that have not succeeded in reaching the light, but have remained on earth. In The threefold widow she encounters Ingeborg Broms, a spirit with a very dark past. With help from her family and friends, Jonna gets to the bottom of what happened during Ingeborg´s lifetime.      In parallell with the research , the reader gets to follow how the characters´ realtions develop and deepen. Jonna is expecting twins with her partner Christer and is struggling to get him to cut back on his work. At the same time she is mentally preparing to say farewell to her grandmother who is in the final stadges of Alzheimer´s disease.