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 40
... move about and a deadly whiplash sting with which they can catch human beings as their prey. The story begins in London, centred on a handful of survivors, including the hero and heroine, who have for various reasons retained their ...
... move about and a deadly whiplash sting with which they can catch human beings as their prey. The story begins in London, centred on a handful of survivors, including the hero and heroine, who have for various reasons retained their ...
Pagina 50
... so central to the way we tell stories that we find it, in different guises, almost all through storytelling. We can now move on to our second plot. Chapter 3 Rags to Riches ' Though for the moment 50 THE SEVEN BASIC PLOTS.
... so central to the way we tell stories that we find it, in different guises, almost all through storytelling. We can now move on to our second plot. Chapter 3 Rags to Riches ' Though for the moment 50 THE SEVEN BASIC PLOTS.
Pagina 52
... move us . And we begin with this trans- formation because it lies at the heart of our second plot , ' Rags to Riches ' . Early in our lives , most of us became familiar with a story which ran something like this . Once upon a time there ...
... move us . And we begin with this trans- formation because it lies at the heart of our second plot , ' Rags to Riches ' . Early in our lives , most of us became familiar with a story which ran something like this . Once upon a time there ...
Pagina 66
... move to the final stage. 5. Final union, completion and fulfilment: Their reward is usually a state of com- plete, loving union with the 'Princess' or 'Prince'. They may also finally succeed to some kind of 'kingdom', the nature of ...
... move to the final stage. 5. Final union, completion and fulfilment: Their reward is usually a state of com- plete, loving union with the 'Princess' or 'Prince'. They may also finally succeed to some kind of 'kingdom', the nature of ...
Pagina 89
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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