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
... imagination. Yet 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 ...
... imagination. Yet 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 ...
Pagina 3
... imaginations have tended to take shape in remarkably similar ways. NO. We are all familiar with the teasing notion that ... imagination we find so beguiling. But in no way does it explain why we should be able to find diversion in this ...
... imaginations have tended to take shape in remarkably similar ways. NO. We are all familiar with the teasing notion that ... imagination we find so beguiling. But in no way does it explain why we should be able to find diversion in this ...
Pagina 7
... imagination , for a story to go wrong ' ; or , as we say , ' lose the plot . The first two parts of the book have been primarily concerned with those stories which express the archetypal patterns underlying them in a way which enables ...
... imagination , for a story to go wrong ' ; or , as we say , ' lose the plot . The first two parts of the book have been primarily concerned with those stories which express the archetypal patterns underlying them in a way which enables ...
Pagina 8
... imagination , Sophocles's Oedipus Tyrannos and Shakespeare's Hamlet . Only at this point have we at last completed the groundwork which is necessary to looking at the deepest questions of all . Just why in the course of our biological ...
... imagination , Sophocles's Oedipus Tyrannos and Shakespeare's Hamlet . Only at this point have we at last completed the groundwork which is necessary to looking at the deepest questions of all . Just why in the course of our biological ...
Pagina 17
... imagination and so boundless the realm at the storyteller's command , we might think that literally anything could happen next . But in fact there are certain things we can be pretty sure we know about our story even before it begins ...
... imagination and so boundless the realm at the storyteller's command , we might think that literally anything could happen next . But in fact there are certain things we can be pretty sure we know about our story even before it begins ...
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