The nature of narrative suspense and the problem of rereading

Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations

Volumn , Issue , 2013, Pages 107-127

  Brewer, William F ^a  

^a UNIVERSITY OF ILLINOIS AT URBANA CHAMPAIGN   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85121644685     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Chapter

References (54)

1. Allen, R. T. (1986). The reality of responses to fiction. British Journal of Aesthetics, 26, 64-68.
2. Armstrong, C. (1977). The three basics of suspense. In A. S. Burack (Ed.), Writing suspense and mystery fiction (pp. 9-13). Boston: The Writer.
3. Barnet, S., Berman, M., & Burto, W. (1971). A dictionary of literary, dramatic, and cinematic terms. Boston: Little, Brown.
4. Bartholomew, C. (1977). The man in the closet. In A. S. Burack (Ed.), Writing suspense and mystery fiction (pp. 21-26). Boston: The Writer.
5. Bennett, D. (1979). The detective story. PTL, 4, 233-266.
6. Berlyne, D. E. (1960). Conflict, arousal, and curiosity. New York: McGraw-Hill.
7. Berlyne, D. E. (1971). Aesthetics and psychobiology. New York: Appleton-Century-Crofts.
8. Boulton, M. (1975). The anatomy of the novel. London: Routledge & Kegan Paul.
9. Brewer, W. F. (1980). Literary theory, rhetoric, and stylistics: Implications for psychology. In R. J. Spiro, B. C. Bruce, & W. F. Brewer (Eds.), Theoretical issues in reading comprehension (pp. 221-239). Hillsdale, NJ: Lawrence Erlbaum Associates.
10. Brewer, W. F. (1985). The story schema: Universal and culture-specific properties. In D. R. Olson, N. Torrance, & A. Hildyard (Eds.), Literacy, language, and learning (pp. 167-194). Cambridge, UK: Cambridge University Press.
11. Brewer, W. F. (in press-a). Good and bad story endings and story completeness. In R. J. Kreuz & M. S. MacNealy (Eds.), Empirical approaches to literature and aesthetics. Norwood, NJ: Ablex.
12. Brewer, W. F. (in press-b). Short story structure and affect: Evidence from cognitive psychology. In B. Lounsberry (Ed.), Proceedings of the Second International Conference on the Short Story. Westport, CT: Greenwood.
13. Brewer, W. F., & Lichtenstein, E. H. (1981). Event schemas, story schemas, and story grammars. In J. Long & A. Baddeley (Eds.), Attention and performance, IX (pp. 363-379). Hillsdale, NJ: Lawrence Erlbaum Associates.
14. Brewer, W. F., & Lichtenstein, E. H. (1982). Stories are to entertain: A structural-affect theory of stories. Journal of Pragmatics, 6, 473-486.
15. Brewer, W. F., & Ohtsuka, K. (1988a). Story structure, characterization, just world organization, and reader affect in American and Hungarian short stories. Poetics, 17, 395-415.
16. Brewer, W. F., & Ohtsuka, K. (1988b). Story structure and reader affect in American and Hungarian short stories. In C. Martindale (Ed.), Psychological approaches to the study of literary narratives (pp. 133-158). Hamburg, Germany: Helmut Buske Verlag.
17. Carroll, N. (1984). Toward a theory of film suspense. Persistence of Vision, 1, 65-89.
18. Chatman, S. (1978). Story and discourse. Ithaca, NY: Cornell University Press.
19. Coleridge, S. T. (1975). Biographia literaria. London: J. M. Dent. (Original work published 1817).
20. Culler, J. (1 975). Structuralist poetics. Ithaca, NY: Cornell University Press.
21. de Beau grande, R., & Colby, B. N. (1979). Narrative models of action and interaction. Cognitive Science, 3, 43-66.
22. Dorfman, M. H., & Brewer, W. F. (1994). Understanding the points of fables. Discourse Processes, 17, 105-129.
23. Erlich, V. (1980). Russian formalism. The Hague: Mouton.
24. Esenwein, J. B. (1924). Writing the short-story (rev. ed.). Springfield, MA: The Home Correspondence School.
25. Friedman, N. (1955). Point of view in fiction: The development of a critical concept. PMLA, 70, 1160-1184.
26. Gerrig, R. J. (1989). Reexperiencing fiction and non-fiction. Journal of Aesthetics and Art Criticism, 47, 277-280.
27. Gerrig, R. J., & Bernardo, A. B. I. (1994). Readers as problem-solvers in the experience of suspense. Poetics, 22, 459-472.
28. Hebb, D. O. (1949). The organization of behavior. New York: Wiley.
29. Hebb, D. O. (1955). Drives and the C.N.S. (Conceptual Nervous System). Psychological Review, 62, 243-254.
30. Jose, P. E., & Brewer, W. F. (1 984). Development of story liking: Character identification, suspense, and outcome resolution. Developmental Psychology, 20, 911-924.
31. Jose, P. E., & Brewer, W. F. (1990). Early grade school children's liking of script and suspense story structures. Journ al of Reading Behavior, 22, 355-372.
32. Kintsch, W. (1980). Learning from text, levels of comprehension, or: why anyone would read a story anyway. Poetics, 9, 87-98.
33. Klavan, A. (1994, May). The uses of suspense. The Writer, 107(5), 13-15, 22.
34. Lever, K. (n.d.). The novel and the reader. New York: Appleton-Century-Crofts.
35. Lewis, C. S. (1947). On stories. In D. Sayers, J. R. R. Tolkien, C. S. Lewis, A. O. Barfield, G. Mathew, & W. H. Lewis (Eds.), Essays presented to Charles Williams (pp. 90-105). London: Oxford University Press.
36. Lipsky, E. (1956). Suspense. In H. Brean (Ed.), The mystery writer s handbook (pp. 103-112). New York: Harper.
37. Ohtsuka, K., & Brewer, W. F. (1992). Discourse organization in the comprehension of temporal order in narrative texts. Discourse Processes, 15, 317-336.
38. Ortony, A., Clore, G. L., & Collins, A. (1988). The cognitive structure of emotions. Cambridge, UK: Cambridge University Press.
39. Perrine, L. (1959). Story and structure. New York: Harcourt, Brace.
40. Radford, C., & Weston, M. (1975). How can we be moved by the fate of Anna Karenina? Proceedings of the Aristotelian Society (Supplementary Volume), 49, 67-80.
41. Random House Dictionary of the English Language (Unabridged, 2nd ed.). (1987). New York: Random House.
42. Smiley, S. (1971). Play writing: The structure of action. Englewood Cliffs, NJ: Prentice-Hall.
43. Smith, L. A. (1985). Rereading: A response to literature. Dissertation Abstracts International, 45, 2382-A.
44. Sternberg, M. (1978). Expositional modes and temporal ordering infiction. Baltimore: Johns Hopkins University Press.
45. Truffaut, F. (1967). Hitch cock. New York: Simon & Schuster.
46. Vale, E. (1973). The technique of screenplay writing (rev. & enlarged ed.). New York: Grossett & Dunlap.
47. Vanderbilt, H. (1991, January). How to put suspense in your story. The Writer, 104(1), 19-21, 47.
48. Walton, K. L (1978). Fearing fictions. Journal of Philosophy, 75, 5-27.
49. Webster's Third New International Dictionary (Unabridged). (1986). Springfield, MA: Merriam- Webster.
50. Woodworth, R. S. (1921). Psychology: A stu dy of mental life. New York: Henry Holt.
51. Zillmann, D. (1980). Anatomy of suspense. In P. H. Tannenbaum (Ed.), The entertainmentfunctions of television (pp. 133-1 63). Hillsdale, NJ: Lawrence Erlbaum Associates.
52. Zillmann, D. (1991). The logic of suspense and mystery. In J. Bryant & D. Zillmann (Eds.), Responding to the screen: Reception and reaction processes (pp. 28 1-303). Hillsdale, NJ: Lawrence Erlbaum Associates.
53. Zillmann, D. (1994). Mechanisms of emotional involvement with drama. Poetics, 23, 33-51.
54. Zillmann, D., Hay, T. A., & Bryant, J. (1975). The effect of suspense and its resolution on the appreciation of dramatic presentations. Journal of Research in Person ality, 9, 307-323.