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
... story. We spend a phenomenal amount of our lives following stories: telling them; listening to them; reading them; watching them being acted out on the television screen or in films or on a stage. They are far and away one of the most ...
... story. We spend a phenomenal amount of our lives following stories: telling them; listening to them; reading them; watching them being acted out on the television screen or in films or on a stage. They are far and away one of the most ...
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 ... story fits neatly and with mechanical regu- larity into one or another category of plot : otherwise we should all ...
Why We Tell Stories Christopher Booker. As soon as I began to look at stories in this light , a number of other possible ... story fits neatly and with mechanical regu- larity into one or another category of plot : otherwise we should all ...
Pagina 6
... stories that it is virtually impossible for any story- teller ever entirely to break away from them. The second was that, the more familiar we become with the nature of these shaping forms and forces lying beneath the surface of stories ...
... stories that it is virtually impossible for any story- teller ever entirely to break away from them. The second was that, the more familiar we become with the nature of these shaping forms and forces lying beneath the surface of stories ...
Pagina 7
... story , however serious or however trivial , which does not ultimately spring from the same source : which is not ... story - types have in common . In particular we find that there are not only basic plots to stories but a cast of basic ...
... story , however serious or however trivial , which does not ultimately spring from the same source : which is not ... story - types have in common . In particular we find that there are not only basic plots to stories but a cast of basic ...
Pagina 8
... stories relate to what we call ' real life ' ? These are the questions we look at in the fourth and final section of the book , ' Why We Tell Stories , which begins with two very significant types of story which we have not looked at ...
... stories relate to what we call ' real life ' ? These are the questions we look at in the fourth and final section of the book , ' Why We Tell Stories , which begins with two very significant types of story which we have not looked at ...
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