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 5
Why We Tell Stories Christopher Booker. As soon as I began to look at stories in this light , a number of other possible basic plots began to suggest themselves . There were , for instance , all those stories about the overcoming of a ...
Why We Tell Stories Christopher Booker. As soon as I began to look at stories in this light , a number of other possible basic plots began to suggest themselves . There were , for instance , all those stories about the overcoming of a ...
Pagina 7
... looks more generally at what all these main story - types have in common . In particular we find that there are not only ... look at how each of the basic plots has developed what may be called its ' dark ' and ' senti- mental ' versions ...
... looks more generally at what all these main story - types have in common . In particular we find that there are not only ... look at how each of the basic plots has developed what may be called its ' dark ' and ' senti- mental ' versions ...
Pagina 12
... look into those parts of the psyche of which we cannot be directly aware, because they are below the threshold of our immediate consciousness. But whereas Freud became preoccu- pied with just a part of the picture, with sexuality and ...
... look into those parts of the psyche of which we cannot be directly aware, because they are below the threshold of our immediate consciousness. But whereas Freud became preoccu- pied with just a part of the picture, with sexuality and ...
Pagina 19
... look at the vast range of stories thrown up by the human imagination through the ages, the more clearly we may discern that there are certain continu- ally recurring general shapes to stories, dictating the nature of the road which the ...
... look at the vast range of stories thrown up by the human imagination through the ages, the more clearly we may discern that there are certain continu- ally recurring general shapes to stories, dictating the nature of the road which the ...
Pagina
... look into those parts of the psyche of which we cannot be directly aware, because they are below the threshold of our immediate consciousness. But whereas Freud became preoccupied with just a part of the picture, with sexuality and with ...
... look into those parts of the psyche of which we cannot be directly aware, because they are below the threshold of our immediate consciousness. But whereas Freud became preoccupied with just a part of the picture, with sexuality and with ...
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