The Seven Basic Plots: Why We Tell StoriesBloomsbury Publishing, 11 nov 2005 - 736 pagina's This remarkable and monumental book at last provides a comprehensive answer to the age-old riddle of whether there are only a small number of 'basic stories' in the world. Using a wealth of examples, from ancient myths and folk tales via the plays and novels of great literature to the popular movies and TV soap operas of today, it shows that there are seven archetypal themes which recur throughout every kind of storytelling. But this is only the prelude to an investigation into how and why we are 'programmed' to imagine stories in these ways, and how they relate to the inmost patterns of human psychology. Drawing on a vast array of examples, from Proust to detective stories, from the Marquis de Sade to E.T., Christopher Booker then leads us through the extraordinary changes in the nature of storytelling over the past 200 years, and why so many stories have 'lost the plot' by losing touch with their underlying archetypal purpose. Booker analyses why evolution has given us the need to tell stories and illustrates how storytelling has provided a uniquely revealing mirror to mankind's psychological development over the past 5000 years. This seminal book opens up in an entirely new way our understanding of the real purpose storytelling plays in our lives, and will be a talking point for years to come. |
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Pagina 7
... developed what may be called its ' dark ' and ' senti- mental ' versions , we see how a particular element of disintegration has crept into modern storytelling which distinguishes it from anything seen in history before . But this in ...
... developed what may be called its ' dark ' and ' senti- mental ' versions , we see how a particular element of disintegration has crept into modern storytelling which distinguishes it from anything seen in history before . But this in ...
Pagina 8
... developed the capacity to create these patterns of images in our heads ? What real purpose does it serve ? And how do stories relate to what we call ' real life ' ? These are the questions we look at in the fourth and final section of ...
... developed the capacity to create these patterns of images in our heads ? What real purpose does it serve ? And how do stories relate to what we call ' real life ' ? These are the questions we look at in the fourth and final section of ...
Pagina 56
... developed what was potentially in them all the time. They have matured. They have grown up.Theyhave fully realised everything that was in them to become.In the best and highest sense, they have become themselves. An example of a Rags to ...
... developed what was potentially in them all the time. They have matured. They have grown up.Theyhave fully realised everything that was in them to become.In the best and highest sense, they have become themselves. An example of a Rags to ...
Pagina 60
... developed such a story becomes , the more apparent this is likely to be , and this may be illustrated in some detail by way of two last examples . On the face of it , these stories could scarcely seem more dis- similar : one is the ...
... developed such a story becomes , the more apparent this is likely to be , and this may be illustrated in some detail by way of two last examples . On the face of it , these stories could scarcely seem more dis- similar : one is the ...
Pagina 63
... developed and mature; and this is symbolised in the way he has owed everything to the genies. He becomes forgetful of this and begins to behave hubristically,showing how immature he still is.Then the great crisis erupts and he loses ...
... developed and mature; and this is symbolised in the way he has owed everything to the genies. He becomes forgetful of this and begins to behave hubristically,showing how immature he still is.Then the great crisis erupts and he loses ...
Inhoudsopgave
1 | |
15 | |
THE COMPLETE HAPPY ENDING | 237 |
MISSING THE MARK | 345 |
WHY WE TELL STORIES | 541 |
The Light and the Shadows on the Wall | 699 |
Authors Personal Note | 703 |
Glossary of Terms | 707 |
Bibliography | 711 |
Index of Stories Cited | 715 |
General Index | 720 |
Overige edities - Alles bekijken
Veelvoorkomende woorden en zinsdelen
Aladdin Amleth anima Anna Karenina archetypal arrives beautiful become begins central figure centre century characters Comedy comes complete consciousness Creon Dark Father dark feminine dark figure dark masculine dark power Dark Rival death developed Don Giovanni Dream Stage egocentric egotism emerge eventually everything familiar fantasy film finally girl goal Hamlet happens happy ending heart hero and heroine hero or heroine human imagination inner James Bond Jane Eyre journey killed king kingdom liberated light lives look Macbeth married Moby Dick mother murder mysterious nature Nightmare Stage novel obsession Odysseus Oedipus ordeals Overcoming the Monster pattern play plot Princess Quest Rags to Riches realise recognise represents role seems seen sense shadow storytelling symbolic symbolised Teiresias tells Theseus thing Tragedy transformation true turn type of story ultimately uncon unconscious values Voyage and Return whole wife Wise Old woman young