The Seven Basic Plots: Why We Tell StoriesBloomsbury Publishing, 11.11.2005 - 736 Seiten 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. |
Im Buch
Ergebnisse 1-5 von 78
Seite 5
... killed . There were ' rags to riches ' stories , like The Ugly Duckling or Cinderella , where our main interest lies in seeing some initially humble and disregarded little hero or heroine being raised up to a position of immense success ...
... killed . There were ' rags to riches ' stories , like The Ugly Duckling or Cinderella , where our main interest lies in seeing some initially humble and disregarded little hero or heroine being raised up to a position of immense success ...
Seite 23
... killed and its dark power overthrown. Eventually the hero must confront the monster, often armed with some kind of 'magic weapons', and usually in or near its lair, which is likely to be in a cave, a forest, a castle, a lake, the sea ...
... killed and its dark power overthrown. Eventually the hero must confront the monster, often armed with some kind of 'magic weapons', and usually in or near its lair, which is likely to be in a cave, a forest, a castle, a lake, the sea ...
Seite 28
... killed): 'Before our very eyes, and almost in the drawing of a breath, the whole body crumbled into dust and passed from our sight.' Mina – and mankind – are saved! In 1898, the year after Dracula, H. G. Wells published The War of the ...
... killed): 'Before our very eyes, and almost in the drawing of a breath, the whole body crumbled into dust and passed from our sight.' Mina – and mankind – are saved! In 1898, the year after Dracula, H. G. Wells published The War of the ...
Seite
... kill the wolf with his axe, and the little heroine is saved. Hansel and Gretel are cruelly abandoned to die in the forest, where they meet the apparently kindly ... killed and its dark power overthrown. Eventually the hero must confront the.
... kill the wolf with his axe, and the little heroine is saved. Hansel and Gretel are cruelly abandoned to die in the forest, where they meet the apparently kindly ... killed and its dark power overthrown. Eventually the hero must confront the.
Seite 37
... kill first one of his opponents , then another . But finally he is trapped in a building , its exits covered by ... killed . As Kane emerges , Miller pushes Amy aside to fire ; but bravely she jogs his arm , giving the hero a chance ...
... kill first one of his opponents , then another . But finally he is trapped in a building , its exits covered by ... killed . As Kane emerges , Miller pushes Amy aside to fire ; but bravely she jogs his arm , giving the hero a chance ...
Inhalt
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 |
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Häufige Begriffe und Wortgruppen
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