Suspense

De The Art of Fiction, de David Lodge:

“Novels are narratives, and narrative, whatever its medium – words, film, strip-cartoon – holds the interest of an audience by raising questions in their minds, and delaying the answers. The questions are broadly of two kinds, having to do with causality (e.g. whodunnit?) and temporality (e.g. what will happen next?) each exhibited in a very pure form by the classic detective story and the adventure story, respectively. Suspense is an effect especially associated with the adventure story, and with the hybrid of detective story and adventure story known as the thriller. Such narratives are designed to put the hero or heroine repeatedly into situations of extreme jeopardy, thus exciting in the reader emotions of sympathetic fear and anxiety as to the outcome.”

Lo que nos remite en parte a la catarsis aristotélica en la tragedia griega: purificación, al término de la obra, de las pasiones suscitadas durante la misma.

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Un pensamiento en “Suspense

  1. En efecto. De hecho, una buena historia no tiene por qué llegar a explicar todos los misterios que surjan si el autor es lo suficientemente hábil y consigue que a la audiencia le importe más el protagonista.

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