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 2
... fact remains that the two stories share a remarkably similar pattern – one which moreover has formed the basis for countless other stories in the literature of mankind, at many different times and all over the world. So what is the ...
... fact remains that the two stories share a remarkably similar pattern – one which moreover has formed the basis for countless other stories in the literature of mankind, at many different times and all over the world. So what is the ...
Pagina 3
... fact what we are looking at here is really one mystery built upon another, because our passion for storytelling begins from another faculty which is itself so much part of our lives that we fail to see just how strange it is: our ...
... fact what we are looking at here is really one mystery built upon another, because our passion for storytelling begins from another faculty which is itself so much part of our lives that we fail to see just how strange it is: our ...
Pagina 5
... fact shaped by the same basic plot , one I had not even considered before ( that which I have called ' Voyage and Return ' ) . And at this point I found myself brought up against the possibility which is the basis of this book ...
... fact shaped by the same basic plot , one I had not even considered before ( that which I have called ' Voyage and Return ' ) . And at this point I found myself brought up against the possibility which is the basis of this book ...
Pagina 6
... fact uncovering nothing less than a kind of hidden, universal language: a nucleus of situations and figures which are the very stuff from which stories are made. And once we become acquainted with this symbolic language, and begin to ...
... fact uncovering nothing less than a kind of hidden, universal language: a nucleus of situations and figures which are the very stuff from which stories are made. And once we become acquainted with this symbolic language, and begin to ...
Pagina 7
... fact presenting its own particular view of the same central preoccupation which lies at the heart of storytelling . Part two , ' The Complete Happy Ending , looks more generally at what all these main story - types have in common . In ...
... fact presenting its own particular view of the same central preoccupation which lies at the heart of storytelling . Part two , ' The Complete Happy Ending , looks more generally at what all these main story - types have in common . In ...
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