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  1. The paradox of suspense.Robert J. Yanal - 1996 - British Journal of Aesthetics 36 (2):146-158.
    arratives, fictional and factual, commonly raise in their audience suspense. A narrative lays out over time a sequence of events; and because the events of the narrative are not completely told all at once, questions arise for the audience which will be answered only later in the narrative’s telling. Will the transfigured panther-woman pounce on her rival as she walks home alone at night, hearing strange noises around her? Will Sam and Annie ever make their date at the top of (...)
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  • The Paradox Of Suspense.Robert Yanal - 1996 - British Journal of Aesthetics 36 (2):146-158.
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  • The Desire-Frustration Theory of Suspense.Aaron Smuts - 2008 - Journal of Aesthetics and Art Criticism 66 (3):281-291.
    What is suspense and how is it created? An answer to this question constitutes a theory of suspense. I propose that any theory of suspense needs to be able to account for three curious features: (1) Suspense is seldom felt in our daily lives, but frequently felt in response to works of fiction and other narrative artworks. [Narrative Imbalance] (2) It is widely thought that suspense requires uncertainty, but we often feel suspense in response to narratives when we have knowledge (...)
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  • The Desire‐Frustration Theory of Suspense.Aaron Smuts - 2008 - Journal of Aesthetics and Art Criticism 66 (3):281-290.
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  • Cognitive, social, and physiological determinants of emotional state.Stanley Schachter & Jerome Singer - 1962 - Psychological Review 69 (5):379-399.
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  • What is eliminative materialism?William G. Lycan & George S. Pappas - 1972 - Australasian Journal of Philosophy 50 (2):149-59.
    In 19651 Richard Rorty defended a theory of mind which has since come to be called' eliminative materialism'. The theory has attained some status as a distinct, autonomous brand of materialism; and it has been criticized at length in the literature, ... \n.
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  • Reexperiencing fiction and non-fiction.Richard J. Gerrig - 1989 - Journal of Aesthetics and Art Criticism 47 (3):277-280.
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