Review of Joyce Carol Oates's Night-Gaunts and Other Tales of Suspense

Lighting design is an important element of scene composition. Designers use light to influence viewers’ perception by evoking moods, directing their gaze to important areas, and conveying dramatic tension. Lighting is a very time consuming task; designers typically spend hours manipulating lights’ colors, positions, and angles to create a lighting design that accommodates dramatic action and tension. Such manual design is inappropriate for interactive narrative, because the scene’s spatial and dramatic characteristics, including dramatic tension and character actions, change unpredictably, necessitating continual redesign as the scene progresses. In this paper, we present a lighting design system, called ELE (Expressive Lighting Engine), that automatically, in real-time, adjusts angles, positions, and colors of lights to accommodate variations in the scene’s dramatic and spatial characteristics accommodating cinematic and theatrical lighting design theory. ELE uses constraint-based non-linear optimization algorithms to configure lights.

Objective To observe the effects of Forsythia suspense(FS) on the expression of Toll-like recepter 4(TLR4),nuclear factor-κB(NF-κB)and secretion of interleukin(IL)-6,IL-10 in the splenic lymphocytes of Wistar rats induced by Endotoxin(ET), to explore the anti-inflammatory and immunity modulation function of Forsythia suspense. Methods rats spleen and splenic lymphocytes were prepared by aseptic separation and the cells were suspended with DMEM and cultured in DMEM containing 20% fetal bovine serum.The experiment were divided into six groups:Control group: without any treatment; ET group:adding ET at final concentration of 10μg/L for 12 h; AFS1+ ET, AFS2+ ET, AFS3+ ET group:0. 5 h of AFS(50. 0, 25. 0, 12. 5 g/L) preconditioning before adding ET; Ploy B+ ET group:0. 5 h of Ploy B(10 mg/L in final concentration)preconditioning before adding ET.The expression of TLR4 and NF-κB m RNA on lymphocytes were measured by real-time quantitative polymerase chain reaction(Real-time PCR).The secretion levels of IL-6 and IL-10 in the lymphocytes supernatant were measured by enzyme linked immunosorbent assay (ELISA). Results Compared with Control group, the expression of TLR4, NF-κB m RNA and the secretion levels of IL-6, IL-10 were upregulated markedly in the ET group[0. 47±0. 01 vs.1. 38 ±0. 05, 0. 68±0. 09 vs.2. 37±0. 09,(16. 59±0. 23) vs.(65. 96±0. 26) ng/L,(9. 17±0. 14) vs. (21. 01±0. 16) ng/L, P 0. 05]. Conclusion Forsythia suspense preconditioning could inhibit the up-regulation the expression of TLR4, NF-κB mRNA and decrease the secretion levels of IL-6, IL-10 in the lymphocytes induced by ET, it was verified that Forsythia suspense has the function of anti-inflammatory and immunity modulation from the level of cells. Key words: Forsythia suspense; Endotoxin; Lymphocytes; Toll-like receptor 4; Cytokines

This thesis documents my attempts (as a playwright, director and process drama worker) to understand 'tension of intimacy'. It focuses on the questions: What is 'tension of intimacy' in drama? How might it be created? Does the experience of 'tension of intimacy' offer the possibility of new knowledge emerging for the participants and spectators of drama? The methodology (articulated in Chapter Two) involves reflective practice. This chapter incorporates discussion of the nature of knowledge claims and the way they might be judged. The need for criteria of openness is asserted. The research plan and the reflective journey are outlined. Problems associated with the approach are discussed. In Chapter Three, the premises informing O'Toole's (1992) naming of different types of dramatic tension are discussed. Ryle's and Koestler's (1975) models of emotional response are briefly outlined. The difference between emotional response to life and art, and claims regarding the roles of conflict and expectation in the creation and experience of dramatic tension are considered. The suggestion that dramatic tension relates to questions of identity, power and control is questioned. The chapter concludes with a discussion of the potential links between the experience of emotional engagement in response to drama and the emergence of changed awareness or understanding. In Chapter Four, I discuss 'the nature of intimacy' drawing in particular on the theory developed by Malone and Malone (1987) who (unlike other theorists discussed) separate the notions of intimacy and closeness and consider the way it might be experienced as people encounter, not just humans, but other aspects of existence including art. The defining characteristics of intimacy are articulated as connection, animation and heightened awareness. The 'qualities of intimacy' are defined as free choice, personal integrity, acceptance, personal surrender, self-responsibility, attentiveness, risk-taking, presence, participation and systemic detachment and playfbl engagement. Chapter Five incorporates reflection on dramatic works and real-life situations. This is followed by Chapter Six where I document several unsuccessfbl attempts to create script driven by a 'tension of intimacy'. I conclude by questioning my earlier assumptions. In Chapter Seven, the labels applied by O'Toole (1992) and Haseman & O'Toole (1986) to a range of different types of dramatic tension are reconsidered. Following this, I conclude that my earlier theoretical assumptions about the creation and naming of tensions: (a) are inadequate to account for the way people respond differently to the same dramatic moment (b) fail to recognise that tension is created through aspects other than narrative and determine that: (a) dramatic tension is not contained in the drama but in the spectators and participants as they experience it (c) every source of contrast is a potential cause of dramatic tension and these can emerge from within and external to the work I conclude that 'tension of intimacy' might be created if the defining characteristics and 'qualities of intimacy' are present in a spectator's or participant's response to the experience of contrast. In Chapter Eight, my focus shifts to consider structural devices which offer the possibility of the 'qualities of intimacy' being experienced in response. Irony; figure- ground contrast; ritual; and devices intended to distance, alienate or prolong perception are discussed. In Chapter Nine my process of working as a writerldirector to group devise the play's action is documented. The resultant play, Umbilical Cords and Metronomes, is included as Chapter Ten. The exegesis contained in Chapter Eleven is informed by participant and spectator interviews as well as my own response to the process and product. In conclusion, I discuss the terms connection, animation and heightened awareness as they apply in the experience of drama. Significant aspects influencing 'tension of intimacy' including playful response, trust, perceptions of integrity and individual 'reading' processes are discussed. The link between risk-taking, heightened awareness and the possible emergence of new knowledge is considered. Chapter Twelve begins with a summary of the study. Constraints and implications are then briefly discussed. The chapter (and thesis) concludes by returning to answer the questions originally posed. In conclusion I claim that 'tension of intimacy' names the experience of spectators or participants when the defining characteristics of intimacy (connection, animation and heightened awareness) characterise their response and is created when they experience: a feeling of invigoration or animation as they respond to a contrast or metaxis between the stage action and their real world existence (and) reduced conscious focus on the stage action and heightened awareness of their response to the juxtaposition (and) challenge, rather than affirmation, of earlier assumptions and beliefs. I conclude that trust, perceptions of integrity in the action (and in personal response to it) and playful engagement are prerequisites for this experience.

Use suspense of Baculovirus to Oryctes rhinoceros L. (Coleoptera; Scarabaeidae) in the Laboratory. The objective of this research was to know the suitable suspense of baculovirus to larvae in the laboratory. This research was conducted in the laboratory of pest, Faculty of Agriculture, University of North Sumatra, Medan. Research using completely randomized design (CRD) non factorial with 5 treatments and 5 replications. The results showed that the highest percentage of larval mortality (P4) (suspense of Baculovirus, 40/1 liter of water) by 48.00 % and the lowest on P0 (control) and P1 (suspense Baculovirus-infected larvae of O. rhinoceros larvae 5/1 liter of water) of 0.00 % and 4.00 %. Key words : palm oil, Oryctes rhinoceros, Baculovirus.

We conducted a study of aviators who experienced a close brush with death at work, in an effort to better understand how such events influence thoughts about work. Importantly, our initial interviews suggested that participants used conversational storytelling about their close brush with death as a means of enhancing the meaningfulness of their work. That initial finding presented us with a puzzle, as the literatures connecting storytelling to the meaning of work view stories as useful for meaning as understanding-not meaning as fulfillment (i.e., meaningfulness). Additional interviews culminated in a theoretical model where the raw materials of the close brush with death (loss of life, errors by the crew) created stories with more versus less dramatic tension. Differences in dramatic tension then shaped how story work (humor, poetic license) was used to craft the tale, how the tellings were experienced (teller emotions, audience reactions), and how gains in meaning as fulfillment (significance, belonging, esteem) were realized. In the end, participants with more and less dramatic tension in their stories were both able to use tellings to cultivate meaning as fulfillment, albeit in distinct and varying ways. Our findings therefore illustrate that the literatures connecting storytelling to the meaning of work have given short shrift to the power of stories. We discuss the implications of our theorizing for the meaning of work and storytelling at work literatures. (PsycInfo Database Record (c) 2025 APA, all rights reserved).

”Complicated legal case stories” is an important branch of the Cinese classical literature. ”Complicated legal case stories” describes different cases. In 'Strange Stories from a Chinese study', there are quite a few excellent case stories which were written by Pu Song-ling. The purpose of this article attempts to research into the polts of the ”Complicated legal case stories” from this classical work in the Narratology view .There are affluent polts in the 'Strange Stories from a Chinese study', ”Rouge” especially. Besides, the polts of these stories emphasize the importance of the exceptional justice. Emphasizing the justice is a key feature of these stories that are different from suspense of Western whodunit. This article consists of five parts. The first part illustrates the ground, research methods and purposes. The second and third parts discuss features of the fictional polts in the Narratology view. The forth part discusses the polts which are emphasizing the exceptional justice. At last, we find the polts of these stories which accent figures rather than plots of suspense.

Hegel in Suspense — Derrida/Hegel and the Question of Prefaces

The near infrared (NIR) spectrum contains a global signature of composition, and enables to predict different proper ties of the material. In the present paper, a genetic algorithm and an adaptive modeling technique were applied to build a multiobjective least square support vector machine (MLS-SVM), which was intended to simultaneously determine the concentrations of multiple components by NIR spectroscopy. Both the benchmark corn dataset and self-made Forsythia suspense dataset were used to test the proposed approach. Results show that a genetic algorithm combined with adaptive modeling allows to efficiently search the LS-SVM hyperparameter space. For the corn data, the performance of multi-objective LS-SVM was significantly better than models built with PLS1 and PLS2 algorithms. As for the Forsythia suspense data, the performance of multi-objective LS-SVM was equivalent to PLS1 and PLS2 models. In both datasets, the over-fitting phenomena were observed on RBFNN models. The single objective LS-SVM and MLS-SVM didn't show much difference, but the one-time modeling convenience al lows the potential application of MLS-SVM to multicomponent NIR analysis.

The paper analyses the main trends in the discussions about the notion of supervenience in the last decades, putting the emphasis in some crucial problems. The starting point will be the various concepts of supervenience proposed by Jaegwon Kim. Through them, we will identify a dramatic tension between the extremes of eliminativism and dualism (in general, pluralism), being placed in the middle of them the positions of a non-eliminativist reductionism and of a non-dualist epiphenomenism. The open options facing that tension show a very peculiar and valuable sort of philosophical work which could be called “conceptual engineering”.

There is a series of various meanings and intentions which led the foremost masters of Baroque architecture to choose the colour white as the characterising element for certain environments. Bernini choses the monochrome palette for interior spaces destined to the nobility, but more often searches, through the grain and chromatic purity of Roman travertine, the ideal of a “naturalised” architecture, as mimesis of the natural world. Grafted instead with erudite allegorical references, Borromini's candid architecture does not want to represent an imitative or narrative nature, but rather a convincing allusion to the acting forces, to the dramatic tensions and symbolic meanings that pervade it. A possible synthesis between the two positions is identifiable in the work of Ludwig Mies van der Rohe, notwithstanding the evident contextual difference. His obsessive attention to detail and technical solutions recalls Borromini's methods, whereas his use of colours is closer to Bernini. Only in the case of Farnsworth House did Mies choose a purely white architecture: a deliberate neutralisation of the building elements, with the purpose of ceding the main role to the surrounding nature, thus allowing a visual and ideal fusion with the polychromatic nature of the Illinois forest.

Cricket festivals are Bermuda's major public celebrations, aside from Christmas. This paper examines their social history, their carnivalesque character, and a prominent ancillary activity, gambling. It is proposed that these festivals symbolically depict both a reflexive, assertive sense of black culture and a stark awareness of black economic dependency on whites—a dramatic tension that is also the semantic context of Bermudian politics. Festival is thus a metaphorical map of the political system, a contention that appears generalizable to the Caribbean. [festival, politics, cricket, Caribbean, symbolic/cognitive analysis]

Jean Tardieu, twentieth-century French dramatist, whose works with the peculiarities of anti-drama that lack of plots and dramatic tension, the suspicions toward ”the functions of communication” of languages and the great irony of depression and despair in reality, as well as the rebel characters has successfully evoked the curiosity of young learners. The termes in his dramatic works do not present a conventional practice, rather with a sense of humor. The sentence structures, and literary form are intentionally simplified, thus arouse French learners' motivation of reading. In view of the positive aspects of teaching strategy, the purpose of this article is to analyze the confusion which our students have confronted while performing French modern drama. By providing the pedagogical theorie and teaching experiences, the study will share the strategy which examines how I guide students to grasp the essence of Tardieu's comedy Ticket Window, and then fits in his world of drama.

The investigation of the dramatic principles of mystery or morality plays is not a novel task. Jerome Taylor’s “The Dramatic Structure of the Middle European Corpus Christi, or Cycle, Plays,” Richard J. Collier’s Poetry and Drama in the York Corpus Christi Play, and Robert Potter’s The English Morality Play: Origins, History, and Influence of a Dramatic Tradition are just a few examples of the critical interest in the dramatic aspects of the medieval drama, whether associated with staging, the function of poetry, plot structure, or ideological content. My investigation of the dramatic will focus on the role of allegory in creating both the artistic unity and dramatic tension necessary to sustain the attention of the audience. I do not assume that allegory is the sole foundation of the medieval drama, nor do I try to ignore the fact that allegory has quite obviously been studied in the case of morality plays. Instead, I propose to focus on the role of allegory in the creation of a certain dramatic tension by means of the via negativa. In other words, establishing the reality of a given play and its spiritual impact by means of a skillfully applied interplay between allegorical representation of the obviously true and the allegorical representation of the obviously false adds dramatic quality to the medieval plays.

이 연구는 TV 드라마 <시그널>의 주요 모티브인 과거, 현재, 미래가 상호작용하는 서사적 시간 구성이 극적 긴장을 조성하는 데 어떤 역할을 했는지를 분석한다. 분석을 위한 이론적, 방법론적 도구로 페터 퓌츠(Peter P&#252;tz, 1977)가 제시한 서사물에서의 극적 긴장 조성 기법들을 활용한다. 그리고 서사적 시간성에 대한 오랜 이론적 토대를 제공해온 쥬네트와 채트먼의 논의를 퓌츠와 비교한다. 이 글의 목적은 TV 드라마 <시그널>의 서사형식을 밝히는 것이다. 특히 서사적 시간성을 뒤흔들어서 극적 긴장감을 불러일으키는 서사적 변형을 살펴보는 것이다. 이는 <시그널>의 시간성과 시간을 통한 극적 긴장의 조성 기법이 <시그널>의 극적 완성도를 높이기 위해서 어떻게 활용됐는가를 분석하는 것이다. 이를 통해서 서사적 시간성 문제에 대한 이론적 지평을 확장하는 것이 이 연구의 궁극적 목표라고 할 수 있다. 페터 퓌츠가 제시한 극적 긴장을 조성하는 기법들인 서사적 시간 구성의 다양한 요소들이 <시그널>의 전편에서 복합적으로 활용되고 있었다. ‘연속’과 ‘선취’, ‘역전’이라는 긴장 조성의 기법들은 <시그널>의 과거와 현재 혹은 현재와 미래라는 이중적 서사 속에 자연스럽게 녹아들고 있었다. 이러한 극적 긴장 조성의 기법들은 <시그널>의 모티브인 무전기를 통해서 과거와 현재가 만난다는 서사적 설정에 매우 적합한 재현도구로 쓰였다. <시그널>은 극적 긴장을 조성하는 기법들을 통해서 서사와 시간을 복합적이면서도 체계적으로 구조화하는 데 성공했다. 즉 <시그널>의 대중적 성공과 높은 작품성은 서사적 시간의 구조화와 그에 따른 극적 긴장의 성공적 조성에서 기인한다고 하겠다. 아울러 주요 캐릭터역시 그러한 시간적 구조화에서 극적 긴장 조성의 기법적 역할을 수행했다. 이는 캐릭터 연구에 있어서도 중요한 관심의 대상이 될 수 있을 것으로 보인다. 끝으로 최근 늘고 있는 독특한 시간성 혹은 멀티타임의 시간성을 모티브로 하여 제작되는 영화나 TV 드라마에 대한 연구와 분석에 있어서 극적 긴장을 조성하기 위한 방법을 제안한 퓌츠의 논의는 더욱 더 유용할 것으로 판단된다.This study analyzed how the narrative time or narrative temporality influenced on the construction of dramatic tension in TV drama <Signal>. The narrative theories of Peter P&#252;tz Gerald Genette, and Seymour Chatman are used as text analysis tools. The purpose of this article is to analyze the narrative form and narrative transmission of <Signal> which constructs the dramatic tension. Furthermore, this study tries to explore the usefulness of the work of Peter P&#252;tz cataloging the technique and manner by which the time element interacts to become the major means of producing the inner tension that is the core of dramatic style. This study suggests that the narrative temporality functions very elaboratively to construct the dramatic tension in the <Signal> which is motivated by supernatural situation connecting the past and the present. It also suggests that the narrative theory and methodology of Peter P&#252;tz could be useful to analyze the narrative temporality.

本論文以李斯特（Franz Liszt,1811-1886）〈但丁詩篇讀後感－奏鳴曲風幻想曲〉（Apres une Lecture de Dante－Fantasia quasi Sonata）為主題，探討但丁（Dante Alighiere,1265-1321）《神曲》（La Divina Commedia）間，與此鋼琴作品之關聯性。 本論文共分為五個章節：第一章為緒論，內容包括研究動機、目的、範圍、 方法及文獻探討。第二章為李斯特的創作生涯與作品特色，說明內容包括討論李斯特的創作生涯、創作技法與創作風格。第三章為李斯特〈但丁詩篇讀後感－奏鳴曲風幻想曲〉的創作背景與文學淵源，包括《巡禮之年》曲集的概述、但丁《神曲－地獄篇》的簡介以及音樂與詩篇的關聯性。第四章為樂曲形式、創作手法、樂曲分析與演奏詮釋。首先針對此首樂曲，作詳盡的樂曲分析，包含其樂曲之形式之形式、段落、調性、動機、和聲、速度、術語及技巧，而在詮釋方面，將文學融合於樂曲當中，使演奏此曲時，能表現地更具有戲劇張力。第五章為結論。