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Suspense

Suspense is a state of anxiety or excitement caused by mysteriousness, uncertainty, doubt, or undecidedness.[1] In a narrative work, suspense is the audience's excited anticipation about the plot or conflict (which may be heightened by a violent moment, stressful scene, puzzle, mystery, etc.),[2][3][4][5] particularly as it affects a character for whom the audience feels sympathy.[6] However, suspense is not exclusive to narratives.

For other uses, see Suspense (disambiguation).

In ' Oedipus Rex (429 B.C.), suspense is achieved through a withholding of the knowledge that Oedipus himself has killed Laius, his father. During the play, the spectators, aware that Oedipus will eventually make the discovery, share the hero's uncertainties and fears as he pursues the truth of his own past.[10]

Sophocles

In 's story "Jean-ah Poquelin" (1875), the reader wants to know the cause of the strange smell and the unexplained disappearance of a brother.[11]

George Washington Cable

In 's Pudd'nhead Wilson (1895), the reader anticipates the outcome of the switching of a black infant with a white infant.[12]

Mark Twain

In 's A Gathering of Old Men (1983), the reader waits for the court's decision at a murder trial.[13]

Ernest J. Gaines

Paradox of suspense[edit]

Some authors have tried to explain the "paradox of suspense", namely: a narrative tension that remains effective even when uncertainty is neutralized, because repeat audiences know exactly how the story resolves.[14][15][16][17][18] Some theories assume that true repeat audiences are extremely rare because, in reiteration, we usually forget many details of the story and the interest arises due to these holes of memory;[19] others claim that uncertainty remains even for often told stories because, during the immersion in the fictional world, we forget fictionally what we know factually[20] or because we expect fictional worlds to look like the real world, where exact repetition of an event is impossible.[21]


The position of Yanal is more radical and postulates that narrative tension that remains effective in true repetition should be clearly distinguished from genuine suspense, because uncertainty is part of the definition of suspense. Baroni proposes to name rappel this kind of suspense whose excitement relies on the ability of the audience to anticipate perfectly what is to come, a precognition that is particularly enjoyable for children dealing with well-known fairy tales. Baroni adds that another kind of suspense without uncertainty can emerge with the occasional contradiction between what the reader knows about the future (cognition) and what he desires (volition), especially in tragedy, when the protagonist eventually dies or fails (suspense par contradiction).[22]

Adrenaline

Cliffhanger

Conflict (narrative)

Fear

Mystery fiction

Mystery film

Pace (narrative)

Plot twist

Red herring

Thriller (genre)

Baroni, R. (2007), La tension narrative. Suspense, curiosité, surprise, Paris:

Éditions du Seuil

Beckson, Karl; Ganz, Arthur (1989), Literary Terms: A Dictionary (3rd ed.), New York: , LCCN 88-34368

Noonday Press

Brewer, W. (1996). "The Nature of Narrative Suspense and the Problem of Rereading". In Vorderer, P.; H. J. Wulff; M. Friedrichsen (eds.). Suspense: Conceptualizations, theoretical analyses, and empirical explorations. Mahwah: .

Lawrence Erlbaum Associates

Carey, Gary; Snodgrass, Mary Ellen (1999), , Jefferson: McFarland & Company, ISBN 0-7864-0552-X

A Multicultural Dictionary of Literary Terms

Gerrig, R. (1989). . Journal of Memory and Language. 28 (6): 633–648. doi:10.1016/0749-596X(89)90001-6.

"Suspense in the Absence of Uncertainty"

Harmon, William (2012), A Handbook to Literature (12th ed.), Boston: , ISBN 978-0-205-02401-8

Longman

Henry, Laurie (1995), , Cincinnati: Story Press, ISBN 1-884910-05-X

The Fiction Dictionary

Walton, K. (1990), Mimesis as Make-Believe, Cambridge:

Harvard University Press

Webster's Seventh New Collegiate Dictionary, Springfield: , 1969

G. & C. Merriam Company

Yanal, R. (1996). "The Paradox of Suspense". . 36 (2): 146–158. doi:10.1093/bjaesthetics/36.2.146.

British Journal of Aesthetics

Baroni, R. (2009). L'oeuvre du temps. Poétique de la discordance narrative, Paris: Seuil.

Brooks, P. (1984). Reading for the Plot: Design and Intention in Narrative, Cambridge: Harvard University Press.

Grivel, C. (1973). Production de l'intérêt romanesque, Paris & The Hague: Mouton.

Kiebel, E.M. (2009). The Effect of Directed Forgetting on Completed and Interrupted Tasks. Presented at the 2nd Annual Student-Faculty Research Celebration at Winona State University, Winona MN. See online .

[1]

McKinney, F. (1935). "Studies in the retention of interrupted learning activities", Journal of Comparative Psychology, vol n° 19(2), p. 265–296.

Phelan, J. (1989). Reading People, Reading Plots: Character, Progression, and the Interpretation of Narrative, Chicago, University of Chicago Press.

Prieto-Pablos, J. (1998). "The Paradox of Suspense", Poetics, n° 26, p. 99–113.

Ryan, M.-L. (1991), Possible Worlds, Artificial Intelligence, and Narrative Theory, Bloomington: Indiana University Press.

Schaper, E. (1968), "Aristotle's Catharsis and Aesthetic Pleasure", The Philosophical Quarterly, vol. 18, n° 71, p. 131–143.

Sternberg, M. (1978), Expositional Modes and Temporal Ordering in Fiction, Baltimore and London: Johns Hopkins University Press.

Sternberg, M. (1992), "Telling in Time (II): Chronology, Teleology, Narrativity", Poetics Today, n° 11, p. 901–948.

Sternberg, M. (2001), "How Narrativity Makes a Difference", Narrative, n° 9, (2), p. 115–122.

Van Bergen, A. (1968) Task interruption. Amsterdam: North-Holland Publishing Company.

Vorderer, P., H. Wulff & M. Friedrichsen (eds) (1996). Suspense. Conceptualizations, Theoretical Analyses, and Empirical Explorations, Mahwah: Lawrence Erlbaum Associates.

Zeigarnik, B. (1927). Das Behalten erledigter und unerledigter Handlungen. Psychologische Forschung, 9, 1–85.

Zeigarnik, B. (1967). On finished and unfinished tasks. In W. D. Ellis (Ed.), A sourcebook of Gestalt psychology, New York: Humanities press.

entry in the Stanford Encyclopedia of Philosophy

"The Paradox of Suspense"